AMERICAN ART GALLERIES 
| MADISON SQUARE SOUTH : 
NEW YORK | BONE ee 


ON VIEW DAY AND EVENING 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


FROM FRIDAY, JANUARY 287TH, 1910 
UNTIL THE DAY OF SALE INCLUSIVE 


VALUABLE ART PROPERTY 


BELONGING TO A PRIVATE COLLECTOR 


UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 
ON THE AFTERNOONS OF 
THURSDAY, FRIDAY ann SATURDAY 
FEBRUARY 3b, 4TH AND 5TH 


BEGINNING AT 2.30 O'CLOCK 


Illustrated Catalogue 


OF 


V ALUABLE ART PROPERTY 
AND ANTIQUES 


BELONGING TO A PRIVATE COLLECTOR 
NEW YORK 


THE ENTIRE COLLECTION TO BE SOLD AT UNRESTRICTED 
PUBLIC SALE ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
1910 


. 
Press of The Lent & Graff Company 
137-139 East esth St., New York 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall be 
immediately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which 
is merely a nominal or fractionad advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately pul up again and re-sold. 

4. The Lots to be taken away at the Buyer's Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in dejault of which the 
undersigned will not hold themselves responsible if the lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the purchaser. 

5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof. for damage or injury occasioned 
thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shail be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, 
and although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold themselves 
responsible for the acis and charges of the parties engaged for 
such services. 

THe AMERICAN ART ASSOCIATION, Manacers 


THOMAS E. KIRBY, AvcTIioneEkEr. 


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CATALOGUE 


FIRST AFTERNOON’S SALE 
THURSDAY, FEBRUARY 8rp, 1910 
AT THE AMERICAN ART ASSOCIATION 


BEGINNING PROMPTLY AT 2.30 O’CLOCK 


ANCIENT CHINESE, SIAMESE AND MONGOLIAN IDOLS. 


1—Turee Smart TemepLte ORNAMENTS 
Old Siamese. Carved wood and gilded kneeling figures of 
Buddhas, in attitude of prayer. 


2—Kwneeuine Ficurre or BuppHa 
In attitude of prayer. Carved wood and gilded. Very old Siam- 


ese specimen. 
Height, 614 inches. 


38—Oup SIAMESE Bronze STATUETTE 


Gilded. Seated figure of Buddha in meditation. 
Height, 61, inches. 


4—O.p Cuinese Votive Taser 
Repoussé and chiselled brass gilt. The God of Conception. On 
the reverse engraved inscription and character mark of the 


Ch’ien-lung period (1736-1795). Has teakwood stand. 
Height, 414, inches. 


5—Oxup Turpetan Ivor 
Brass; gilt and enamel. Six-armed god in attitude of rage. 
Height, 41% inches. 
Heber R. Bishop Collection. 


6—AncientT Hinpoo Ipou 
In standing attitude. Bronze; heavily plated with gold. 
Height, 41, inches. 


Y—Bronze STATUETTE OF KWAN-YIN 
Seated on a lotus throne. Ch’ien-lung period (1736-1795). 


Height, 3% inches. 


8—SILVER STATUETTE OF BUDDHA 


From Pitsanuloke, in Northern Siam. 
Height, 4 inches. 


9—Prissts’ CEREMONIAL SYMBOL 
Antique Chinese bronze. 


Mrs. E. H. Conger Collection. 


10—AntTievE Moncoruian [pou 


Seated figure of Buddha in bronze, plated with gold, and enam- 


elled and encrusted with semi-precious stones. 
Height, 51, inches. 


11—AncienT Brass BuppHa 
Mongolian. Seated figure holding alms bowl in left hand, and a 
symbol in the uplifted right hand. Gold-plated and encrusted. 


Height, 51, inches. 
Mrs. E. H. Conger Collection. 


12—Smatut AncieENT Bronze Buppua 
Chinese; Sixteenth Century. A standing, robed figure in the 
attitude of meditation, with a religious symbol in his hands. 


Height, 7 inches. 
Mrs. E. H. Conger Collection. 


13—Ivory STATUETTE OF BuDDHA 


Seated attitude; covered with gold leaf. Discovered in the ruins 


of Angkor-Vat, Cambodia. Very old and rare. 
Height, 41%, inches. 


14—Ivory STATUETTE oF BuppHa 


In a state of decay. Discovered in the ruins of Angkor-Vat, 


Cambodia. Very old and rare. 
Height, 1434 inches. 


15—Oup CHINESE Bronze BuppHa 


Seated on a carved and gilt wood lotus throne, and with a pierced 


brass halo. 
Height, 4 inches. 


16—Ancient Hinpoo Ipor 
' Carved and gilt wood, in standing, devotional attitude. 


Height, 8 inches, 


17—O.xp Hinvoo Ivor 
Figure of a male Hindoo deity seated on a lotus throne. Wrought 
in bronze and gilded, and encrusted with coral and turquoise. 


Height, 7 inches. 
Heber RK. Bishop Collection. 


18—Gi.pEp Bronze STATUETTE OF BuppHa 
Siamese; Sixteenth Century. Seated on a lotus throne. 


Height, 734 inches. 


19—STATUETTE OF A DEITY 


Chinese; Sixteenth Century. Partially gilt. 
Height, 8 inches. 


20—Oup TuisetTan Ivor 
“God with many arms” (the Indian God Siva). Wrought in 
gilded bronze and encrusted with semi-precious stones. 
. Height, 41, inches. 
Thomas E. Waggaman Collection. 


21—Ancient THIBETAN Bronze [von 
“The Thousand-Armed God of Conception.” Seated on a lotus 
throne, and holding in each of the numerous hands a Buddhis- 


tic symbol. 
Height, 6%, inches. 


22—Oup SrtAmMEst Bronze STATUETTE 


Seated Buddha. Sanscrit incised on base. 
Height, 74/, inches. 


23—TEMPLE ORNAMENT 


Carved wood and gilded. Four figures of Buddha facing the 
four quarters of the earth. 
Height, 8 inches. 


24—Oup SIAMESE Bronze Ivor 
Seated figure of Buddha. Showing tracing of gilding. 
Height, 101% inches. 


25—Two Carvep Woop TEemrie FIGurEs 


Old Siamese. Buddha, attainment of Nirvana. 


26—AnciENntT Hinpoo Ivor 


Fourteenth Century. Buddha seated on a lotus throne. Gilded 
and enamelled. 
Height, 1134 inches. 


Q97—ANCIENT Bronze Inoru 


Siamese; Fifteenth Century. Reclining figure of Buddha, at- 
tainment of Nirvana. 
Height, 3 inches; length, 81% inches. 


28—Two Outp TempepLteE ORNAMENTS 


Siamese. Carved wood, gilded and lacquered. Buddha, attain- 
ment of Nirvana. : 
Height, 414 inches; length, 934 inches. 


29—-SHrINE Group 


Ancient Chinese pottery. A Buddhist triad. 
Height, 614 inches. 


30—Oup THIBETAN IpoL 


The thousand-armed “God of Conception.” Wrought in bronze. 


Height, 81% inches. 
Heber R. Bishop Collection. 


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Rare Oxp Ipots 


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31—O.up JAPANESE Bronze STATUETTE 
Figure of Fudo, a temple guardian. Golden brown patina. 


Height, 10 inches. 
Heber R. Bishop Collection. 


32—Oxp CuinesE Bronze STATUETTE 
Kneeling figure of a diety. Golden patina. Has carved teak- 


wood stand. 
Height, 714, inches. 


383—Oup CHINESE Gotp Bronze Ficure 


Kwan-yin, seated, and holding in her hands a child. Known 
in China as the Mother Goddess, or a patroness of childless 
women. Incised ornamentation and plated with gold. 


Height, 1014 inches. 
Mrs. E. H. Conger Collection. 


34—ANCIENT CHINESE BRONZE STATUETTE 
Seated figure of an emperor. Golden patina. Has teakwood 


stand. 
Height, 10 inches. 


35—ANCIENT SIAMESE IDOL 
Seated figure of Buddha. Cast in bronze and gilded. 
Height, 1434, inches. 


36—BronzeE anp Gitt Ivor 
Siamese; Tenth Century. Seated figure of Buddha. 
Height, 15 inches. 


37—ANCIENT CHINESE IDOL 
Kwan-yin seated in devotional attitude. Cast in bronze and 


gilded. 
Height, 12 inches. 


388—CarvED AND Gi_tt Woop Ficure 


Old Siamese. Buddha, attainment of Nirvana. 
Height, 734 inches. 


39—Oxp StamesE [pou 
A seated Buddha. Cast in bronze and gilded. 
Height, 15% inches. 


ANTIQUE JAPANESE IDOLS, STATUETTES AND 
OKIMONO 


40—NeEtTsukEeE DaruMa 


Imbe stoneware of fine red clay. Decorated with gold. Made 


at Imbe, province of Bizen, 1750. 
Height, 1 1-3 inches. 


Thomas E. Waggaman Collection. 


41—OxImMono 


Nitomaro the poet. Imbe stoneware of hard fine greenish gray 
clay. Thinly glazed and fine modelling. Made at Imbe, prov- 


ince of Bizen, 1750. 
Height, 414 inches. 
Thomas E. Waggaman Collection. 


42—_ JAPANESE SEAL Mark 


Bronze figure of Furojin—God of Wisdom. 
Height, 214 inches. 
Thomas E. Waggaman Collection. 


43—OLp JAPANESE BRONZE 


Daikoku standing on a rice bale. 7 
Height, 31%, inches. 
Heber R. Bishop Collection. 


44—OnLp JAPANESE BronzE STATUETTE 


In shrine. Figure of Daikoku standing on rice bags. Made 


by Kamajo and signed. Eighteenth Century. . 
Height, 1%, inches. 
Thomas E. Waggaman Collection. 


45—VotTivE OFFERING 
Group of seven gods of happiness. Modelled in Imado faience. 
Invested with lacquer in imitation of bronze. Made by Benshi, 
at Imado, in Tokio, province of Musashi. Mark, Benshi, im- 


pressed 1772. 
Height, 31% inches. 
Thomas E. Waggaman Collection. 


46—SEATED Figure or ARHAT 


Cochin-Chinese. Gray texture, partially glazed in yellow, green 


and bronze glazes. Date 1600. 
Height, 51%, inches. 


47—Oup JAPANESE Bronze STATUETTE 


Figure of an enraged demon. Finely modelled, and coated with 


a mottled red and brown patina. 
Height, 43/, inches. 
Heber R. Bishop Collection. 


48—SMALL JAPANESE SILVER-BRONZE OKIMONO 


Daikoku resting on his rice bale and holding aloft in his right 


hand a mallet. Signed Hozan Tsukuru. 
Height, 214 inches. 
Heber R. Bishop Collection. 


49—Oxp JAPANESE BronzE OKIMONO 


Kneeling figure of Daruma (one of the Buddhist saints), making 


faces. Mottled red and brown patina. 
. Height, 41/, inches. 
Heber R. Bishop Collection. 


~§0—Oup Japanese Bronze anp Woop Group 
Representing Buddha and his disciples. Has carved teakwood 


stand. 
Height, 434, inches. 
Heber R. Bishop Collection. 


51—Oup JAPANESE BronzE STATUETTE 


A standing figure of a pilgrim in flowing robes, the base sup- 
ported by symbolical bats. Incised ornamentation. Fine brown 


patina. 
Height, 717 inches. 
Heber R. Bishop Collection, 


52—Pair OF STATUETTES 


“No” dancers. Kioto faience. Reddish texture, decorated in 
enamel colors and lacquer. Made at Kioto, province of Yama- 


shiro. Date, 1800. 
Height, 9 inches. 
Thomas E. Waggaman Collection. 


53—OKIMONO 
Figure of Goddess Bentin with Samisen. Finely carved, and 
decorated with gold and colored lacquers. Date, 1860. 


Height, 634 inches. 
Thomas FE. Waggaman Collection. 


54—Ontp JAPANESE OKIMONO 


Yebsu, on carp. Awata faience. Gray clay, partially glazed 
with various enamels. Made at Awata, Kioto, province of Yama- 


shiro, 1800. 
Height, 91 inches. 
Thomas E. Waggaman Collection. 


55—OxKIMONO 


A nobleman’s page. Fushimi faience. Soft yellowish clay, 
decorated in lacquer. Made at Fushimi, province of Yamashiro. 
Mark, Bunroku San Kogo, Nigatsu Koyemon. (Made by 
Koyemon, in February of the third year of Bunroku, 1594.) 


Date, 1800. 
Height, 71, inches. 
Thomas E. Waggaman Collection. 


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56—Oup JAPANESE OKIMONO 


Otafuku—Goddess of Pleasure. Kioto faience. Yellowish clay, 
partly glazed. Decorated with leaf patterns in colored enamels. 
Made at Kioto, province of Yamashiro. Mark, Kenzan, painted. 
1750. 


Height, 8 inches. 
Thomas E. Waggaman Collection. 


57—Oxp Japanese OxkIMOoNOo 
Figure of Hotei. Kioto faience. Soft reddish clay. Heads, 
body, hands and feet unglazed. Robe covered with black Raku 
glaze. Made at Kioto, province of Yamashiro. Date, 1800. 


Height, 6 inches. 
Thomas E. Waggaman Collection. 


58—Oup JAPANESE OKIMONO 


Jurojin dancing. Kioto faience. Gray clay, covered with red 
lacquer. Made at Kioto, province of Yamashiro. Mark ob- 


scure. 1800. 
Height, 914, inches. 
Thomas E. Waggaman Collection. 


59—ANCIENT JAPANESE CAST-IRON OKIMONO 


Sixteenth Century. Jurojin in a flowing robe and in standing 


attitude. Has base of iron to correspond. 
Height, 11 inches. 
Thomas E. Waggaman Collection. 


60—-Carvep Woop STATUETTE 


Shoki, the demon-destroyer. Artistically executed. Signed 


Hara Shugetsu. 
Height, 6 inches. 


61—Oup CHINESE STATUETTE 


Yuen Dynasty. Seated figure of a general. Invested with a 


lustrous green glaze. Carved teakwood stand. 
Height, 934, inches. 
Thomas E. Waggaman Collection. 


62—OLp JAPANESE OKIMONO 
Hotei with his sack. Old Japanese earthenware. Coated with 


a mottled brown glaze. 
Height, 7 inches. 


63—OLp JAPANESE OKIMONO 
Shojo holding a sake bottle. Imbe stoneware. Hard red clay 
with thin glaze. Made at Imbe, province of Bizen. 


Height, 11 inches. 
Thomas E. Waggaman Collection. 


64—Oxp JAPANESE OKIMONO 


Kashin and the impudent peasant. Imbe stoneware. Hard red 
clay with pearskin glaze. Made at Imbe, province of Bizen, by 
Kimura Kiyochika. Mark, Dai Nippon Imbe to Kimura 


Kiyochika, impressed 1850. 
Height, 914, inches. 
Thomas E. Waggaman Collection. 


65—Ox.p OximMono 


Figure of Hotei. Hirado porcelain. Face and hands unglazed 
and body covered with a fine celadon glaze. Made at Mika- 


wachi, province of Bizen, 1800. 
Height, 514 inches. 
Thomas E. Waggaman Collection. 


66—Oxp JAPANESE OKIMONO 


Jurojin. Takatori stoneware. Hard gray clay, with olive- 
green glaze of lustrous quality. Made at Takatori, province of 


Chikuzen. Date, 1800. 
Height, 10%, inches. 
Thomas E. Waggaman Collection. 


67—OLp JAPANESE OKIMONO 


Tekkai exhaling his spiritual essence. Takatori stoneware. 
Hard gray clay with greenish-brown mottled glaze. Made at 
Takatori, province of Chikuzen. Mark, Taka and Hobin, im- 


pressed date, 1800. 
Height, 81% inches. 
Thomas E. Waggaman Collection. 


68—JAPANESE OKIMONO 


Hotei and child, with sack. Awata faience, gray clay. Deco- 
ration in colored enamels and gilt over a crackled, creamy glaze. 
Made at Awata, Kioto, province of Yamashiro. 1850. 


Height, 714 inches, 
Thomas E. Waggaman Collection. 


69—F ine Oup JAPANESE OXKIMONO 


Artistically modelled figure of Kwan-yin. Satsuma faience. 
Soft creamy-white texture, minutely crackled. Face, hands and 
feet covered with gold lacquer. Made at Nayeshirogawa, prov- 


ince of Satsuma. 1800. 
Height, 834 inches. 
Thomas E. Waggaman Collection. 


70—JAPANESE OKIMONO 


Yebisu with carp. Imbe stoneware. Hard red clay. Made at 


Imbe, province of Bizen. Date 1800. 
Height, 71 inches. 
Thomas E. Waggaman Collection. 


71—_Oup JAPANESE OKIMONO OR VASE 


Figure of Otafuku. Kiyomidsu stoneware. Hard gray clay, 
covered with a dull, thick gray glaze over a dark brown crackle. 
Made at Kiyomidsu, Kioto, province of Yamashiro. 


Height, 121, inches. 
Thomas E. Waggaman Collection. 


72—_AnTIQUE JAPANESE OKIMONO 


Seated figure of Hitomaro the poet. Imbe stoneware. Fine red 
clay, slightly glazed. Made at Imbe, province of Bizen. 1700. 

Height, 121% inches. 
Thomas E. Waggaman Collection. 


3—Carvep Woop FicurE OF A JAPANESE LADY 


Representing Lady Tokiwa, mother of Yoritomo (a great war- 
rior of the Fifteenth Century). Patterns of costume carefully 
painted in gold lacquer on body color of brown yellow. 

Height, 1214 inches. 
Heber R. Bishop Collection. 


74—Carvep Woop StTatTuETTE 
Japanese; Sixteenth Century. Figure of Konjara, the praying 
diety, standing with hands clasped. Gilded and lacquered in low 


tones. 
Height, 16 inches. 


Thomas E. Waggaman Collection. 


75—Oup CHINESE PorcELAIN FIGURE 
A Chinese emperor, seated in his throne chair. Decorated in 


brilliant enamel colors of famille verte. 
Height, 15 inches. 


76—Oup Curnese PorRcELAIN STATUETTE 
Artistically modelled figure of a Chinese royal personage, richly 
robed. Ornamentation carved in relief in the paste and decor- 
ated in brilliant enamel colors, enhanced by gilding. The face 
and beard unglazed. Ch’ien-lung period (1736-1795). 


Height, 181% inches. 


77—Artistic JAPANESE OKIMONO 
Seated figure of Hitomaro the poet. Satsuma faience. Creamy- 
white texture with minutely crackled glaze. Decoration of crests 
and brocade patterns in various enamel colors and _ gildings. 
Made at Nayeshirogawa, province of Satsuma. 1800. 


Height, 14 inches. 
Thomas EF. Waggaman Collection. 


78—Parr ANTIQUE JAPANESE FIGURES 
Sogano Goro and Asaina Saburo. Kioto faience. Gray clay, 
covered with crackled creamy white glaze. Decorated in blue, 
green and red enamel colors, and gilding applied over the glaze. 
Made at Awata, Kioto, province of Yamashiro. 1750. 


Height, 10 and 15 inches respectively. 
Thomas E. Waggaman Collection. 


79—JaPaNESE OKIMONO 
Seated figure of Gama, with his favorite frog on his shoulder. 
Minato faience. Hard reddish clay, invested with a dull green- 
gray glaze. Made at Minato, province of Idsumi. Date, 1800. 


Height, 164, inches. 
Thomas E. Waggaman Collection. 


80—Larcr OxKImMono 


Seated figure of Daruma. Kioto faience. Coarse gray clay. 
The face and chest unglazed, the robe covered with red and 
white Raku glaze. Made at Kioto, province of Yamashiro. 


Mark, Dohachi, painted in black. 1830. 
Height, 16 inches. 
Thomas E. Waggaman Collection. 


81—JapPaNnEse Pocket SHRINE 
Shrine of Kwan-yin Sama Vidi. Red lacquer. Containing an in- 
tricately carved figure of a six-armed Kwan-yin seated on the 
sacred lotus. 


Heber R. Bishop Collection. 


82—MInIATURE SHRINE 


Enclosing an exquisitely carved statuette of the hundred-handed 
Buddha. Seventeenth Century. 


Thomas E. Waggaman Collection. 


83—JAPANESE SHRINE 


Black and gold lacquer. Containing a finely carved figure of 
Buddha, standing on a lotus throne, and cloud-forms. ‘Tinted 


and gilt ornamentation. 
Height, 9 inches. 


84— JAPANESE STATUETTE IN SHRINE 


Seventeenth Century. Carved wood and_ gilded. Gautama 
Sakya Buddha. Inscription on the shutters, “In memory of 
Shimazawa, late senior maid attendant in the court sf Lord 


Mito, Kioshikawa” (Tokio). 
Height, 9 inches. 
Thomas E. Waggaman Collection. 


85—Oup JAPANESE ‘SHRINE 


Black and gold lacquer, with lotus decoration containing a 
chiselled gold bronze Sharito, with crystal vessel containing 
relic. 


Height, 111% inches. 


86—JAPANESE SHRINE 


Seventeenth Century. Black lacquer, with gilded interior. Con- 
tains a carved wood and enamel figure of Shoki. 


Height, 131% ,inches. 
Heber R. Bishop Collection. 


87—Very Rare STATUETTE IN SHRINE 


Carved wood, gilded and lacquered. Priest Nichiren (Thir- 
teenth Century), the founder of Hokke, or Nichiren sect of Bud- 
dhism, with scroll and rosary in his hands. The priest’s dress 
is beautifully decorated in colors and gold. On the back of the 
figure there is the inscription, “Mamo Nichiren Baishonin,” or, 
“I take refuge under the great sage Nichiren”; and on the top 
of the pedestal, “Unveiled on the 21st day of February, the 
first year of Kiowa (1801),” and signed, “Nisshu of the 
Church” (obscure). Outer surface of the shrine is in vermil- 
lion lacquer, with elaborate ornamentation in gilded metal. 


Height, 12 inches. 
Thomas E. Waggaman Collection. 


88—JAPANESE SHRINE 


Black lacquer, with gilded interior. Contains an elaborate carv- 
ing representing mountain scenery with numerous minute figures 
and animals, together with a miniature shrine containing an 
eight-armed Buddha and Buddhistic symbols. 


Height, 15 inches. 
Heber R. Bishop Collection. 


89—ANCIENT JAPANESE SHRINE 


Black and gold lacquer. Containing finely carved and gilded 


seated figure of Buddha and two attendants. 
_ Height, 22 inches. 
Heber R. Bishop Collection. 


90—ANCIENT JAPANESE SHRINE 


Black and gold lacquer, with engraved metal mounts. Contains 


artistically carved and gilt wood figures of the Buddhist triad. 
Height, 22 inches. 


91—Carvep Woop STATUETTE 


Lacquered, Priest Kukai, better known by his posthumous 
name Kobodaishi, “Great Teacher who promulgates the law”; 
lived 784 to 854 A. D. He was the founder of the Shingon sect 
of Buddhism, and consequently of the church and temples of 
Koyasan, in the province of Kii, besides being noted as a cali- 
graphist, painter, sculptor and architect. It is a common be- 
lief in Japan that this great teacher invented and introduced the 


Japanese alphabet (I-ro-ha), Has carved and gilded stand. 
Thirteenth Century. 


Height, 18 inches. 
Thomas E. Waggaman Collection, 


ANTIQUE JAPANESE AND CHINESE BRONZES 


92— ANTIQUE JAPANESE BRONZE STATUETTE 


Kwan-yin standing on a lotus throne. Etched and gilt bronze 
halo, and carved and gilt lacquer stand. 
Height, 11 inches. 


93—OxLp CuinesE Bronze STATUETTE 
Seated figure of Kwan-yin. Finely modelled. Has lotus design 
stand to correspond. Very fine golden-brown patina. 


Height, 7% inches. 
Heber R. Bishop Collection. 


94—ANTIQUE JAPANESE BRONZE STATUETTE 


Yakushi standing on a lotus throne. Halo of cloud-form de- 
signs. 
Height, 15 inches. 


95—Rare Goup Bronze [vou 

Thibetan; Sixteenth Century. A 
Buddha seated on a throne of 
lotus design. It is heavily plated 
with gold, and encrusted with 
semi-precious stones. The bronze 
contains a large proportion of 
pure gold. The interior of the 
figure is filled with innumerable 
rolls of Buddhist prayers. This 
remarkable specimen was taken 
from temple in the Forbidden 
City at Pekin, during the Boxers’ 
rebellion. 


Height, 161% inches; width, 12 inches. 


96—ANTIQUE JAPANESE BRONZE 
STATUETTE 

Figure of Kwan-yin standing on 

a lotus petal. Skilfully executed 


specimen. 
Height, 23 inches. 


97—Larcre AnTievE Bronze STATUE 
Sixteenth Century. Artistically 
modelled figure of Kwan-yin 
standing on a throne of lotus de- 
sion. Partially gilded. 


Height, 42 inches. 


98—Larce Bronze STATUETTE OF 
KWan-YIN 

Japanese; Sixteenth Century. A 

gracefully draped figure of 

Kwan-yin standing on a throne 

of lotus design. Dark brown 


patina. 
97 Height, 46 inches. 


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99. REMARKABLE THIBETAN IDOL 


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99—Exvaporate THIBETAN BRONZE 
Ipou 
Sixteenth Century. <A_ seated 
figure of the eight-armed Buddha, 
holding in each of his numerous 
hands Buddhistic symbols. Artis- 
tically modelled and _ partially 
gilt. 
Height, 341, inches; length, 39 inches. 


100—JapanEsE Bronze  INceENsE- 
BURNER 

Eighteenth Century. Design of 

a seated lion. Fine brown patina. 


Made by Yamashiro. Signed. 
Height, 4 inches; diameter, 41/, inches. 


Thomas E. Waggaman Collection. 


101—Oup JApanrse Bronze INCENSE- 
BURNER 
Gourd design. Brown patina. 


Height, 61 inches. 


102—JaranrskE Bronze  INcENSE- 
BURNER 

Eighteenth Century. Design of 
carp. Finely modelled and en- 
graved surface. Fine mottled 
patina. Attributed to Kame-jo 
of Nagasaki, who was the first 
female artist in bronze. 


Height, 7 inches. 


Thomas EL. Waggaman Collection. 


103—JaPpANESE Bronze OKIMONO 
Life - like serpents, skillfully 
wrought in bronze. 
Length, 16 inches. 


104—T' wo CHINESE Bronze OFFICIALS’ SEALS 


A—Heavy bronze, with inscription and mottled green incrusta- 
tion. 
B—Golden bronze, with mottled patina and carved ivory handle. 


. Height, 7 inches. 
The Edward Colonna Collection, 1908. 


105—JapanesE Bronze INCENSE-BURNER 
Design of a dog foo, resting on his four feet, body uplifted and 
hind legs extended. Coated with fine mottled brown patina. 


Height, 9 inches. 
Heber R. Bishop Collection. 


106—JapanresE Bronze Oxkimono 
Turtle of longevity, supporting on his back a tree stump, upon 
which rests a rock crystal sphere of 234 inches in diameter. 


Height, 5%4, inches; length, 8 inches. 


107—Larce JAPANESE Bronze BraAZIER 


Furo, used in tea ceremonial. Very fine mottled brown and 
red patina. Eighteenth Century. 


Height, 7 inches; diameter, 14 inches. 


Thomas E. Waggaman Collection. 


108—Larcr JAPANESE Bronze HEBACHI 
Eighteenth Century. Rich mottled red and brown patina. 


Height, 8 inches; diameter, 13 inches. 


109—Larcer JAPANESE Bronze TEMPLE BELL 


Relief ornamentation of sacred dragons, deities, cloud-forms, 
archaic designs and Chinese characters. Coated with a fine 
golden brown patina. Cast by Tajo. Signed, and dated the 


5th year of Kaysi (1852). 
Height, 14 inches; diameter, 81%, inches. 
Thomas E. Waggaman Collection. 


110—AntTiavE Bronzz Hancrnc CEnser 
Chinese; Seventeenth Century. Globular-shaped, ornamented 


with festoons of jewels, hung with pendeloques of emblems in 
relief casting. Enamel, mother-of-pearl and semi-precious stones. 


Diameter, 914, inches. 


111—Japranetse Bronze Oximono 


Group of nine life-like turtles on rock. Coated with a green 
patina. Made by Seimin. Signed and dated 18th of May, 
1825. Hokugiokuo Seimin, in his sixty-sixth year of age. 


Height, 7 inches; diameter, 1014 inches. 
Thomas E. Waggaman Collection. 


112—Larcer JAPANESE Bronze INCENSE-BURNER 


God of wealth and his symbols. Finely modelled, and with en- 
graved ornamentation. Coated with a rich brown patina. 
Mounted on red lacquer stand. 


Height, 101%, inches; length, 19 inches. 
Heber R. Bishop Collection. 


113—AntTievuE CuHtneEste Bronze INCENSE-BURNER 
Design of Kylin, with brocade ball. Teakwood stand. 


Height, 12 inches; length, 18 inches. 
Heber R. Bishop Collection. 


114—Ten Bronze STATUETTES 


A series of Japanese gods or deities known as the ‘“Yakushi 
Jiuni Shinsho,” the ten deity generals. Bikatsu. Ra-taisho, 
Choto Ra-taisho, Shindatsu Ra-taisho, Mako Ra-taisho, Hai Ra- 
taisho, Indatsu Ra-taisho, San tei Ra-taisho, Ani Ra-taisho, 
Ante Ra-taisho, Meishi Ra-taisho. 


Heber R. Bishop Collection. 


115—Larcre Hammerep Bronze JAPANESE TEMPLE GONG 


Of perfect tone. Hammered surface and fine dark patina. In- 
cised inscription of dedication to temple. Mounted on a red 


and gold lacquer tall stand. 
Height, 15 inches; diameter, 20 inches. 
Thomas E. Waggaman Collection. 


JAPANESE. AND CHINESE CABINET OBJECTS 
IN IVORY, LACQUER, AGATE, JADE AND AMBER 


116—JaPANESE Woop CarRVING 


Three Nikko monkeys. See no evil, hear no evil and speak no 
evil. Signed ‘“Koitsu.” 
Height, 2 inches. 


117—Oup JAPANESE Woop CARVING 


Life-like toad, with amber eyes. 
Length, 5% inches. 


118—PERFUME Box 


Gold lacquer. Kiri crest in low relief. Interior; relief figure 
and lotus. 


119—Perrrume Box 


Lacquered in imitation of metal. Inscription and wheel of for- 
tune in gold lacquer. Interior; relief figures of priest and 
dragon. 

Diameter, 21% inches. 


120—Incense Box 
Miniature figure of Okamé. Kiyomidsu porcelain of fine white 
texture. Decorated in colored enamels and gold. Made at 
Kiyomidsu, Kioto, province of Yamashiro, 1850. 


Height, 24% inches. 
Thomas E. Waggaman Collection. 


121—-Smatu Ivory CARVING 


Miniature figures of Japanese farmers. A hut, and pine tree 
intricately carved in openwork. 


122—-Carvep Ivory NETSUKE 
A boating party. “The Seven Gods of Good Fortune.” Signed 
by Masa Kazu. 


123—SMALu JAPANESE Ivory CARVING 
Shoki, the demon-destroyer. 


124—GaARNITURE 


Consisting of two Chinese carved ivory figures of an emperor 
and empress and a snuff bottle of pierced pattern, lacquered in 
imitation of Cinnabar lacquer. 


125—Carvep AGATE FIGURE 


Hotei. 
Height, 2 inches. 


126—Carvep AMBER FIGURE 
Chinese dignitary, finely executed. Has carved ivory stand. 


Height, 3 inches. 


127—J aPANEsE Carved Ivory Group 
God of Wisdom, deity and child, by Tomotsugu. 
Height, 41 inches. 


128—JAPANESE CARVED Ivory FIcuRE 


Kwan-yin seated on a rock, skillfully executed by Toshikazu. 


Has teakwood stand. 
Height, 31% inches. 


129—Roveer Box 
Hard paste of the K’ang-hsi period (1661-1722), coated with a 
monochrome glaze of “crushed strawberry” glaze. Has carved 


ivory stand. 
Diameter, 3 inches. 


130—STATUETTE OF KwAN-YIN 
Carved rock crystal. Has carved teakwood stand of lotus leaf 


design. 
Height, 614 inches. 


131—Carvep Kwan-yin oF AMBER 
Unusual quality of rich yellow amber. Masterly wrought by 
Chinese artist, of Kan-he. Benevolent expression of goddess and 
wonderful flow of drapery. Stands on malachite stand. 


Height, 7 inches. 


182—Carvep Kwan-yYIN oF AMBER 


Companion to the above. Lighter yellow, of exquisite quality 


and workmanship. 
Height, 414% inches. 


1383—MiniaTuRE CHINESE SHRINE 
Figure of Kwan-yin, holding an infant in her hand, and on 
either side an attendant. Carved white jade mounted in gold 
of intricate workmanship, with blue kingfisher feathers and en- 
crusted with semi-precious stones. Suspended on a black teak- 


wood stand. 
Height, 7 inches. 


134—CrystaL Quartz VASE 
Rose-color. Oviform, with cover and elephant-head and loose 
ring handles. Plum in blossom and pine tree carved in relief. 


Has teakwood stand. 
Height, 8 inches. 


185—AmeEtuyst VASE 
Pomegranite design. Toad in relief, carved and undercut. Has 


teakwood stand. 
Height, 514 inches. 


136—Carvep CrysTaL QuARTZ VASE 
Deep rose-colored. Flat oviform, with cover fashioned after an 
antique bronze. Has two elephant heads and loose ring handles, 
and is ornamented with archaic designs carved in low relief. Has 


carved teakwood stand. 
Height, 814 inches. 


137—Beavtirut Rep Amper ALTAR VASE 


Fashioned after an antique bronze. Skillfully carved ornamen- 
tation of palm leaf, sceptre head and fret bands. Dragon-head 
and loose ring handles, and kylin surmounting cover. Has 


carved teakwood stand. 
Height, 81 inches. 


138—Carvep AGATE STATUETTE 


Figure of a Roman actress. Of skillful workmanship. The mask 


of carved flint. 
Height, 81%, inches. 


139—Carvep Crrystat Quartz VASE 


Rose-pink color. Flat oviform, with cover and two elephant 
heads and loose ring handles. Archaic scrolls and palm leaf 
band carved in relief. Has carved teakwood stand. 


Height, 8%, inches. 


140—Larece Crystat Quartz Koro 
Rose-color. Globular-shaped, on tripod with cover; dragon- 
head and loose ring handles. Carved in relief and undercut. 
Has finely carved teakwood tsand. 


Height, 61% inches; diameter, 51% inches. 


141—Very Oxup anp Rare ALABASTER GROUP 


Kwannon with two disciples. The following description is by 
the late Professor Fenollosa: “Statuette group, carved appar- 
ently in alabaster. Chinese; probably Fifth Century. Subject, 
The Buddhist deity, Kwan-yin (Japanese, Kwannon), seated in 
contemplation, with two standing disciples. About 15 inches in 
height, including base. The statues have become stained by in- 
cense smoke to the color of bronze. This group is unique, in 
that it forms a Kwannon trinity. The type of the central 
figure is well known in very early Chinese, Korean and Japanese 
bronzes. ‘The charming attitude of resting the head upon the 
right hand, the elbow on the right knee, and the right leg crossed 
upon the left knee, is typically rendered in the large Chuguji 
Kwannon near Mara. Carved by Prince Shotoku, about the 
year 600. The curve lines of the composition are very beautiful, 


the flying drapery at the side serving to give stability to the 
two standing figures. This is the style of early Buddhist art 
in China that belongs to the ‘Six Dynasties,’ fourth, fifth and 
sixth centuries. From style alone it might seem to date from 
the great Liang Dynasty, about 450. The inscription on the 
base, partly legible, gives the date as “Tempo 10th,’ of Northern 
Ti Dynasty, which is the year 559 A. D. It is to be hoped that 
this very rare piece, so important for the history of early 
Chinese art, may remain in this country. The names of the 
two carvers, Manken and Dojitsu (Japanese pronunciation), 
occur in the inscription. . . ” Has carved teakwood stand. 


Height, 12 inches. 
B, Matsuky Collection, 1907. 


142—Carvep Woop STATUETTE 


Of skilful workmanship. Gautama Sakya (Buddha) of third 
epoch, returning from the mountain after his enlightenment. 
Nineteenth Century. 

Height, 61%, inches. 
Thomas E. Waggaman Collection. 


143—Nio1, an Ensicn oF THE Priest oF JEN SECT 


Wood. Carved in design of turbulent water. Ninteenth Cen- 
tury. : 


Thomas FE. Waggaman Collection. 


144—PorTABLE INCENSE-BURNER 


Red lacquer; lotus design. The flower and seed-pod forms the 
incense-burner and the leaf and stem the handle. By Ritsuo. 
Signed “Kwan.” 1700. 


Thomas EF. Waggaman Collection. 


145—Oxp CHINESE Ivory CaRVING 


Figure of a Chinese sage. 
Height, 13 inches. 


146—Beavtirut Gaieor 
Of graceful shape and fine technique. Thin white porcelain of 
the Ch’ien-lung period (1736-1795). Invested with a mono- 
chrome glaze of sang de poulet of exceedingly fine quality. 


Height, 8 inches. 


147—Finet BorrLe-SHAPED VASE 


Clear white porcelain of the Ch’ien-lung period (1736-1795). 
Enamelled with a red monochrome glaze of sang de boeuf type, 
and with a pearskin surface. Has carved teakwood stand. 


Height, 12 inches. 


148—FuiamsBt BotTruE-sHAPpED VASE 


Thick hard paste of the Ch’ien-lung period (1736-1795). Coated 
with a beautiful flambé glaze of brilliant quality, applied over a 
boldly crackled surface. Has carved teakwood stand. 


Height, 13 inches. 


149—AntievEe CHINESE BEAKER 
Hard paste of the Yung-Chéng period (1723-1735). Invested 


with a monochrome glaze of mirror-black of brilliant quality. 


Has teakwood stand. 
Height, 18 inches. 


150—CuINESE PorcEeELAIN GARNITURE 


Consisting of five oviform vases. Decorated with panel of domes- 
tic scenes and family groups, painted in brilliant enamel colors. 
Borders of grape-vine design, carved in relief. 


Each: Height, 141% inches. 


151—SmatL JAPANESE Woop CarvING 


Lacquered, and tinted in colors. Representing a legendary 


story of the Broken Sake Jar. 
Length, 10 inches. 


152—Smatt Ramma . 
Old Japanese wood carving, tinted. The Goddess Benten, amid 


cloud-forms. 
Height, 7 inches; length, 13 inches. 


153—Oup JAPANESE LAcQuER STAND 


Peony and dog foo design. 
Height, 6 inches. 


154—Oup JAPANESE RAamMa 
Carved and gilded wood. Howo bird amid cloud-forms. 
Height, 7 inches; length, 17 inches. 


155—O.xp Japanese Lacquer STAND 
Carved and tinted wood. Feet of peony design. 


Height, 31, inches; diameter, 71% inches. 


156—Oxp JAPANESE SHRINE STAND 
Carved and gilded wood; panels of peony design. 
Heber R. Bishop Collection. 


157—O.up JAPANESE SHRINE TABLE 
Gilt and lacquered wood. Carved and tinted panels of lotus 


design. 
Height, 7 inches; length, 101%, inches. 


158—CrnnaBar Lacquer STAND | 
Finely carved ornamentation of dragons, cloud-forms and sym- 


bols. Signed. 
Height, 6 inches; length, 101% inches. 


159—Rare Hisacut 

Made of a large gourd. Elaborate decoration of gourd-vine, 
bee and butterfly in lacquer and mother-of-pearl. Lined with 
copper and gilded. By Ritsuo. Signed. 1700. Has orna- 
mental stand of Kamakura lacquer. Carved archaic design, 
supported by three Shachi fish. Specimen of artistic workman- 
ship. 

Height of gourd and stand, 1814 inches; diameter of gourd, 151 inches. 
Thomas E. Waggaman Collection. 


160—AnTIQUE JAPANESE HIBACHI 
Kujaki wood. Lined with copper and ornamented in relief in 
gold lacquer, mother-of-pearl and lead. Attributed to Ritsuo. 


Height, 8 inches; diameter, 14 inches. 


161—Crinnapar Lacquer STAND 
Oblong-shaped. Carved ornamentation of peonies. 


Height, 5 inches; length, 11 inches. 


162—F ine Ovp Japanese RamMA 
A peacock and peonies, finely carved in relief and openwork, and 


tinted. 
Height, 22 inches; width, 16 inches. 


163—Surers BorruE-sHarPeD VASE 


The outer surface completely covered with a powdered gold 
lacquer of high quality and lustrous surface. The decoration, 
which is exquisitely executed, consists of chrysanthemum flowers, 
gourds, grasshoppers, diaper patterns and other designs, painted 
in fine gold lacquer of various shades, and inlaid with minute 
squares of cut-leaf gold. This specimen is one of a pair origin- 
ally made by order of the Imperial Japanese Government for the 
Centennial Exposition at Philadelphia in 1876, and illustrates 
the highest perfection of art in modern lacquer work. Has 
stand of cinnabar lacquer, decorated with an elaborate carving 
of butterflies, storks, peony flowers and leafy scrolls. 

Height, 24 inches, with stand. 
Heber R. Bishop Collection. 


164—Oup JAPANESE STAND 
Quadrangular-shape, on four scroll feet of persimmon wood, 
artistically carved in openwork with sparrows, bamboo and plum 
in blossom, butterflies and detached blossoms, encrusted in 


mother-of-pearl and ivory. 
Height, 18 inches; width, 14 inches. 


165—Oxp Cuinese Gem CABINET 


Carved teakwood. 
Height, 7 inches; length, 16 inches. 


166—Two Oxp CuinEsr TEMPLE STANDS 
Black lacquer. Carved and decorated with gilding. 


Height, 36 inches; width, 19 inches. 


167—O.p Japanese Rama 
Carved wood, tinted and gilded. Figures of sages, pine tree 


and cloud-forms, carved in openwork. 


Length, 38 inches; width, 8 inches. 


168—Patir JAPANESE SHRINE Doors 


Black lacquer, with finely carved and tinted panels. Etched 
brass mountings. 
Each: Height, 52 inches; width, 16 inches. 


169—ANTIQUE JAPANESE Hancinc TEMPLE SHRINE 


Carved gilt and tinted wood. Buddha seated on a lotus throne, 
on either side his attendants, and vases containing the sacred 


lotus. Beneath, two guardian dog foos. 
Diameter, 28 inches. 


170—KakEMONO 
Yiuroku-Zenzin, or the sixteen meritorious Buddhists. Finely 
painted in colors on silk. 


Hdward Colonna Collection, 1892. 


171—AncIEntT JAPANESE PaInTING 
Framed, under glass. Quintuple personification of Buddha. 
Finely executed in colors and gold on silk. 


Height, 43 inches; width, 181%, inches. 
Edward Colonna Collection. : 


172—- ANTIQUE JAPANESE PAINTING 


Framed, under glass. Shiba School, late Fifteenth Century. 
Shaka and the Jurokin Senjin. A typical altar-piece. Very 
rich in color. 


Height, 43 inches; width, 19 inches. 
Edward Colonna Collection, 1892. 


173—W aTER-cOLOR 
By Esther Hunt. Chinese altar. Framed, under glass. 


Height, 17 inches; width, 1314, inches. 


MISCELLANEOUS 


174— Ancient Peruvian Porrery VAsE 


Quadrangular-shape. Front panel ornamented with figure of a 


sun god, carved in bold relief. 
Height, 14 inches; width, 6 inches. 


175—Oup Inpian Becotnc Bown 


Used by the Togis. Finely carved ornamentation of flowers and 
birds, with brass chain. 


176—Pair Larce Turkish Buckues 
Gilt metal, of openwork and repoussé workmanship. Profusely 
inlaid with coral and enamel. 


A. D. Vorce Collection. 


177—Antievuse Turkish Heap Dress 


Silver gilt. Inlaid with coral and imitation precious stones. 


178—Pair Oup EncusnH Fruinriockx PIstrous 


The stocks elaborately ornamented and mounted with inlaid sil- 


ver and coral of Turkish workmanship. 
Kelekian Collection. 


we 


SECOND AFTERNOON’S SALE 
FRIDAY, FEBRUARY 47x, 1910 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 o’CLOCK 


GREEK GLASS 
TANAGRA FIGURINES, SINGLE AND IN GROUPS 


ROMAN AND EGYPTIAN ANTIQUITIES. 


179—Turee Pieces ANCIENT GLass 
“Tear bottles,” these little bits of iridescent glass used to be 
called, but it is now thought they held cosmetics for the com- 
_ plexion. 


180—TuHree Pieces, Tormetrre Pxutats 
Slender bottles, used by the old Syrians for the toilette, and 
buried with corpses to help them ‘tkeep up appearances” in the 
under-world. 


181—Two Pieces, Uncvent BotTr es 
Handles and a spiral relief mark one of these little tomb orna- 
ments. These pieces have not changed in tone as much as usual 
—nearer the color of the old Pheenician glass. 


182—Two Pieces, Ancient Guass Botries 
The shapes of these bottles show that the forms imitated by the 
glass-blowers were skin bottles, not wooden or horn receptacles, 


or perhaps little bladders. 


183—DecoratEep Uncuent Houper 


This little vase is interesting, as it shows how the glass-blower 
first curled a decoration round the neck and tip, and then an- 


nealed the hollow handles. 


184—Guass Borrie ror On, 


In this piece, touched here and there with fine iridescent high- 
lights, one sees the impression of the glass-blower’s hand as he 
flattened the four sides. 


185—Two Pieces, Ftower Hoxrper anp OrnocHot 


The taller vaselet is a shape very much copied in modern times 
for flower-holders. The other is a graceful classic form used 
on a larger scale for pouring wine. 


186—Two Pieces, Smart Jue anp Frower Hoxrper 


Charming little jug of delicately iridized glass, having a raised 
spiral decoration. Observe how deftly the workman has pinched 
the tips to form a spout. Small piece full of style. Companion 
piece is a brilliant bit of rainbow iridescence. 


187—Two Pieces, Frowrr Houpers 


The salts of the earth, acting on the soft glass used by the Syrian 
glass-blowers, have transformed one of these tall flower-holders 
into a glow of color. The other piece seems struck by moon- 
beams—a very unusual note in this tomb glass! 


188—Guass Borris ror Pasty MaTEeriIau 


Hand bottle for some pasty substance perhaps used for the 
complexion. ‘The wide flare of the neck is a provision for carry- 
ing it, under a thick soft collar, for suspension to the belt. 
Uncommon shape. 


189—Guass Jar ror Toms 


A fine cloud of iridescence covers this small jar in almost every 
part. It is rare that the entire surface is so evenly affected by 
the oxidizing of the glass. 


190—Vasr oF DeticaTELy Cotorep GLass 


Portions of this broad-bottomed vaselet are brilliant with laven- 
der, purple and blue, the surface being irregularly affected by 
the play of colors. 


191—Guass VASELET FOR COSMETICS 


Pretty little broad-shouldered vase, from whose surface the 
brown skin laid on it by age has been removed, revealing the 
lovely opal tints of a polished seashell. 


192—-Smautt Guass JAR witH CAMEO EFFECTS 


This ornate little jar has been curiously affected. Under the 
creamy layer is a field of darker glass full of gleaming opaline 
tints. Large areas turn from lilac to green as the jar is shifted 
so as to catch different lights. 


193—Guass SUSPENSION JAR FOR UNGUENTS 


Double unguent jar with glass handle for suspension. One side 
contains the wooden spatula by which the sticky mass was ex- 
tracted. Mounted on black wooden stand. 


194—Guass Toms VASELET 


Very thin, delicately blown vaselet, with a large part of the dark 
outer skin, formed by centuries of dwelling in the tomb, re- 
moved, so as to lay bare tracts of finely opalescent glass. 


195—Peracockx Guass BorrLe 
This bottle, after its seclusion of a couple of thousand years, 
shines like the neck of a peacock, the bird of Juno. The gleam 


of green and gold changes as one moves the piece. 


196—Two Pieces, Guass Ftowrer Howpers 


In one of these tall flower-holders the flow of the molten glass 
is revealed by the lines of iridescence. The glass-blower never 
imagined that age would make his work beautiful to such a 
degree. he larger vase has an entirely different color-scheme— 
less of dark greens, more of rose and lilac. 


197—Two Pieces, VasELETs ror THE UsE or THE DeEap 


A fine bit of form and color is the pitcher-shaped piece in this 
lot of two. It has a very peculiar russet tone, and the glass-man 
has lavished ornament on lip and neck. The other piece is like 
the oldest Phoenician glass in tone. 


198—Guass SUSPENSION JAR FOR ‘J'OMB 


Elaborate double “tear-bottle,”’ as these little affairs were once 
called. It has never had a handle, but was suspended by a 
soft cord running round the neck. Sides decorated with a 
snake effect of glass, the jaws of the serpent clutching the brim. 
The serpent was sacred to the Gods of Healing—Apollo, Mer- 
cury, 4sculapius, etc. 


199—Fovur-rotp Cosmetic GLASs FOR SUSPENSION 


Quadruple unguent-holder of old green glass, decorated with 
fine bands of relief and provided with four handles. Observe 
how the glass of the four phials, while still soft, was pushed to- 
gether and adhered; the glass-man finished the foot in one solid 
mass. Rare, and unusual in shape. A museum plece. 


2900—Or11. BotrLe FOR THE USE or GHOostTs 


Bottle of extremely thin glass, having a practical, well-made 
handle. Meant for oil or some fluid of similar consistency. 
The ancients thought that the dead required most things that are 
needed in life. 


901—Wine Howper FOR THE INHABITANT OF THE TOMB 


Fine large bottle in very light glass, suitable for water or wine. 
Such bottles formed part of the furniture of a tomb, along with 
big pottery jars and little receptacles for honey, dates, milk, 
meal and cosmetics for the skin. Some tombs show a regular 
“battery of the kitchen and toilette.” 


TANAGRA FIGURINES 


202—Curip Ripinc on A Swan 


203— 


204— 


205— 


The ancients liked to think of their great god Zeus visiting the 
earth on adventures, and unconsciously pushed into them by his 
young friend Eros. Here we have the Swan that concealed the 
form of the Thunder God when he fell in love with Leda, who 
became the mother of Castor and Pollux, and Helen of Troy. 


Eros in Fuicut. Figurine ror SuspENSION 


Airy and well-modelled figurine of the Tanagra variety. A 
small Genius or a Cupid, wearing a scanty cloak, a diadem and 
a pair of traveller’s boots. The head inclines prettily to one 
side, wings are expanded and toes pointed in flight. The 
figurine belongs to the kind that were suspended on nails, either 
in a family chapel or in the tomb. One arm broken. Note re- 
mains of color. 


Famitiar Scene. Pan Honorep sy WorsHipprer or Baccuus 
Bacchanalian scene. In this very small Tanagra group a de- 
votee of Bacchus has reeled up to a terminal shaft which bears 
the head of Pan, and embracing it, is about to place a garland 
on its head. Remains of color on the hair of the two heads. 
Exhilarated expression on the face of the reveller. 


Curip Fryine THROUGH THE AIR 
In this little Tanagra the figure is designed for suspension by 


a cord or on a nail. Rather unusual are the heavy, curling 


tresses almost like a wig, on which the original color lingers. 
One arm under the wrap, the other extended in greeting. 


206—FIcGuRINE FOR SUSPENSION. Fuiyine GENIUS oR GANYMEDE 


This flying figure may be of Ganymede after his translation to 
Olympus, whence the Phrygian cap. Remarkable bold manage- 
ment of the folds of the cloak. Effeminate modelling of limbs, 
more womanly than masculine. 


207—Youne Genius Fryine wiru Lyre 


The long, wig-like hair retains a good deal of the original color, 
remains of which will also be found on the cloak. Assured, lively 
action.  Self-confidence, superciliousness have been expressed 
very well by the sculptor in this little floating figure. 


208—APrHRODITE, AMPHITRITE, T'HETIS OR GALATEA 


This half-length figurine might be one of half a dozen goddesses 
connected with the sea. She is backed against and partly en- 
closed by the valves of a scallop shell. <A shell-like background 
sets her off, and below are coral and other marine growths. 
Figurine for family shrine or the tomb. 


209—Cnrron InstrRuctTiInc THE Boy ACHILLES 


According to Greek tradition, Achilles was sent as a boy to be 
taught by the Centaur Chiron. This figurine shows the boy rid- 
ing on his teacher’s back while Chiron instructs him in music. 
The lyre, which originally was between the Centaur’s uplifted 
hands, has disappeared. 

Height, 6 inches. 


210—THETIS wItTH THE HELMET oF ACHILLES 


The sea goddess, wife of Peleus, is carrying from Vulcan the 
new armor made for her son Achilles. As she knows he is to fall, 
she regards the helmet with sorrow. The dolphin on which she 
rides is the kind one sees in Greek sculpture, but exaggerated 
as to beak and crest, the tail ending in a three-pointed, leaf-like 
fluke. 


911—ArnHropire At Her TorLetrtre 


Backed by open scallop shells, and standing in the rocky margin 
of the sea, Venus is shown arranging her locks, having placed 
her diadem in position. Fine nude modelling, pleasing expres- 
sion of face. Statuette for shrine and tomb. 


212—PRESENTATION OF THE BRIDE 


Tanagra group. <A small Cupid flying has removed the mantle 
from a young woman who is kneeling, having a cup in one hand 
and something to eat in the other. Refers to marriage cere- 
monies. Arranged for standing on table or hanging on peg in 
wall. This might be a gift to a bride or bridegroom. 


213—NeEptTuNE Drivine anp Hurume His Tripent 


Important group in the Tanagra fashion. On a chariot formed 
of a great shell, drawn by two horses with dolphin-like hindquar- 
ters, Neptune stands in a commanding attitude. The right hand 
is supposed to hold reins, the left his trident. Perhaps neither 
reins nor trident were ever supplied. Curious modelling of the 
waves and the fan-shaped tails of the sea-horses. 


214—SiLENus AND His Ass 


The elderly attendant on Bacchus, with ivy in his hair and a 
cluster of grapes in his hand, is half sitting, half lolling, on the 
back of his faithful Ass, which is lying down. His only gar- 
ment is a goat-skin. Remains of pink coloring. Silenus, an old 
god of the moon, has always the features of the barbarians whom 
the Greeks, when they took Greece, drove into the hills, or en- 
slaved. He has the Satyr type of face, but not goat’s legs. 
Rollicking, inebriated action well expressed. The ass’s ears are 
gone. 


915—Lapy with Ivy WreatH Anp Fan 


Tanagra figurine of a well-known type, but remarkable for the 
drapery, which is complicated and extremely well modelled. 
Colors linger on hair, pupils, ivy leaves, etc. Torso and limbs 
are indicated under the thin coverings. The lady is thought- 
ful as she moves slowly toward or from some festival in honor of 
Bacchus. 


216—Lapy wirn Carvep Heap, Hotpine Her Fan 


Graceful, suspended movement; fine lines of drapery. These 
figurines are very useful to students of the Greek past, because 
they imitate the local garments of the time and realize the 
people as they were. The lady, with a long, round, columnar 
neck, is moving very slowly and with dignity. Her covered head 
may mean that she is a priestess. Such a figurine would be 
placed in a lady’s tomb. 


217—Mainven with Distarr anp Bayt or YARN 


A very lovely combination of lines and curves is found in these 
single Tanagra figurines. The slope of the limbs, the bend of 
the head, the natural movement of the arms, are extremely grace- 
ful. Remarkably beautiful piece, chaste and ladylike. Note 
the extraordinary beauty of the drapery. 


218—Baccuus, ARIADNE AND ATTENDANT 


The poetry of wine-bibing among the ancient Greeks. While 
this group would be used for any worshipper of Bacchus to 
grace the shrine or tomb, the figures would be understood to 
apply to the god himself and to Ariadne, whom he found on 
Naxos. The small figures are youthful geniuses in the god’s 
train. The youth who supports Bacchus on the other side wears 
the goat-skin often worn by Silenus. Gay, lively and well ex- 
pressed group, each figure being alive, the whole group express- 
ing the exhilarating quality of wine. 


219—Mercury Conpuctine A Sout TO THE STYx 


Elaborate group showing the god Mercury, “conductor of souls,” 
arriving at the Styx in charge of a beautiful woman. She seems 
to be alive, not a spectre, for Charon appears to be objecting 
to take her aboard. Mercury and his female companion have 
the gestures and expression of command. Background of sedges. 
Good action, broad but expressive modelling. A very familiar 
composition in Greek and Roman sculpture. 


990—PLacauE IN LOW-RELIEF 


Battle of Theseus with the Amazons. Fine composition of many 
figures of men and women and horses. On the left, a lonely man 
in a biga (two-horse chariot) is urging on his steed, and tramp- 
ling down a fallen Amazon who raises her shield. On the right, 
another Amazon, stricken by Theseus, is falling from her horse 
into the arms of a comrade. Below, a dying man. Above, in 
the centre, is Theseus, standing by the elderly man in the chariot. 
He turns and sends his spear into the Amazon on horseback. 


991—-Sma.Lut ANCIENT EcGyrtTian USHABTI 


Carved and gilt wood, with enamelled eyes; representing Osiris. 
Found at Gizeh, Egypt. Dated 1500 B. C. 


Ayiz Kayat Collection. 


999-_-Two AncIENT EcyrpTian AMULETS 


One, blue pottery, very old. The other, variegated texture. 


993-_FiGyPpTIAN AMULET 


Very old blue pottery. Figure of sun god mounted as a seal on 
Cornelian base. 


994 AnciENT EGyPpTiAn FIGURE 


“God of the Nile,” in form of a crocodile. In blue pottery. 


995—SmMaALL EcyPrrian USHABTI 


Fine green glaze, with verse from the Book of the Dead... Found 
at Luxor, Egypt. 1500. B. C. 


Ayiz Kayat Collection. 


996—Turee ANCIENT EcyptTian USHABTIES 


Faience of various glazes and carved inscriptions. 


297—Hinpvoo Ipou 


Miniature. Elephant form. Cast in bronze. Brown patina. 


228—ANcIENT Bronze Mepicrine Bown 
Arabic inscriptions and symbols incised. Fine green patina. 


Diameter, 4%, inches. 
Noorian Collection. 


229—AncIENT EcypTian Bronze STATUETTE 
Figure of ‘Horus.’ Mottled green patina. Black wood stand. 
Height, 3%, inches 


930—ANCIENT Roman Bronze STATUETTE 


“Diana.” Mottled green patina. Black wood stand. 
Height, 23, inches. 


931—ANCIENT Bronze GREEK CROSS 


Virgin and Child. Saints and lettering cast in relief. 
Height, 41%, inches. 


932—AnNCIENT Roman Bronze STATUETTE 


Draped figure of a senator. Mottled green patina. Black wood 
stand. 
Height, 4 inches. 


933—ANCIENT Roman Bronze STATUETTE 


Undraped male figure. Green patina. Black wood stand. 
Height, 41% inches. 


934—ANCIENT EGypTiaAn Bronze 


Isis, with Horus on her lap. Mottled green patina. 
Height, 64%, inches. 


935—ANCIENT PHOENICIAN Bronze STATUETTES 


Dark green patina. Black wood base. 
Height, 5%, inches. 


236—ANcIENT EcypTian Bronze 


Isis, with Horus on her lap. Dark green patina. Black wood 
stand. 

Height, 5%, inches. 
D. Kelekian Collection. 


937—ANCIENT EcyrpTian Bronze 


Seraphis, the snake goddess. Green incrustation. 


; Height, 41%, inches. 
D,. Kelekian Collection. 


938—ANCIENT EcyrpTian Bronze 


The sacred bull, Apis. Brown and green patina. 


Height, 3 inches. 
D. Kelekian Collection. 


939—Rare ANCIENT EGYPTIAN BRONZE 


The Trinity “Osiris, Isis and Horus.” Brown and green patina. 
Black wood base. 


Height, 31%, inches. 
D, Kelekian Collection. 


240—AncreNT EcyrtTian Bronze 
A curious conglomerate god. Green patina. Black wood base. 


Height, 4 inches. 


941—AncientT EcyrptTian Bronze STATUETTE 


- The *“*Goddess Pasht.” Mottled green patina. 


Height, 4% inches. 
D. Kelekian Collection. 


942—"T'wo ANCIENT EGyPpTiaAn Bronzes 


The ram-headed god. Dark and light green patina. 


Height, 41/, inches. 


943—ANCIENT ROMAN BRONZE STATUETTE 


Nude male figure. Mottled green patina. Black wood base. 


Height, 4°34 inches. 


944—Two AncIENT Roman Bronzes 


Small statuettes of Hercules. Black wood bases. 


Height, 5% inches and 4 inches respectively. 


945—ANCIENT EcyrpTian Bronze 


“Ammon Ra.” Brown and green patina. Black wood base. 


Height, 8%, inches. 


946—ANCIENT EcyptTian Bronze STATUETTE 
The goddess Bast, standing, and wearing a crown. Coated with 
a green incrustation. Mounted on a sienna marble base. 


Height, 8%, inches. 
D. Kelekian Collection. . 


947%—AncreENT EcyptiAn Bronze STATUETTE 


Old fine gold-plated ‘figure of “Osiris.” Gold-plated, and en- 


crusted with green. Black wood base. 
Height, 7%, inches. 
D. Kelekian Collection. 


248—AncIENT EcypTianN Bronze 
A god. Coated with a fine green incrustation. Mounted on a 


sienna marble base. 
Height, 7%, inches. 


949—Bronze VENUS 
Known as the “Venus of Syria.” She holds in her hand a mirror, 
her head is crowned with peacock. Very fine modelling. Found 
near Tyre, Syria. Roman period. Black wood base. 
Height, 81%, inches. 
Ayiz Kayat Collection. 


250—Anctent Ecyprian Bronze 
Standing figure of “Horus,” wearing an elaborate head dress. 
Brown patina, and malachite green incrustation. Black wood 


base. 
Height, 1114 inches. 


D. Kelekian Collection. 


951—Ancient Hinpoo [nou 


Cast bronze. With elaborate openwork background. 
Height, 914 inches. 


252—ANCIENT EcyptTian Bronze 
Tomb of the sacred hawk. Mottled green patina. 


Height, 6 inches; length, 71, inches. 
D. Kelekian Collection. 


253—Rare ANCIENT Bronze STATUETTE 


The “Goddess Fortuna Panthea.” It was found in Syria at the 
ruins of the ancient city Anteratus, on the coast of the Mediter- 
ranean north of Beyrout. Anteratus was distinguished for its 
wealthy citizens of Greeks and Romans, being one of the summer 
resorts in that part of the country. The goddess Fortuna 
brought fortune to the possessors. She wore the attributes of 
the different deities. The serpent on her right arm is the at- 
tribute of Hygiea. On her left arm is the Cornucopia, sur- 
mounted by the bust of Jupiter, which means abundance. On 
her back are the wings of Eros and the quiver of Diana. On her 
head she bears the crown of Isis of Egypt. On her dress is the 
bronze mirror, an attribute of Venus. In her right hand the 
goddess originally held a rudder, an attribute of Neptune, but 
it is missing. ‘The bronze belongs to the Second Century A. D. 
It is one of the best-preserved statuettes of its type known. The 
word ‘“Panthea” means “sacred to the gods.” Has glass shade 


and black wood stand. 
Height, 6 inches. 


Daniel Z. Noorian Collection. 


254—Larcr ANCIENT Eoyprian Bronze 
A seated figure of the “Goddess Bast.” Green and brown incrus- 


tation. Black wood base. 
Height, 1134 inches. 


D. Kelekian Collection. 


255—ANCIENT Greek Bronze Mirror 
Coated with a fine green incrustation. Black wood stand. 


Diameter, 51%, inches. 
Ayiz Kayat Collection. 


ks 


256—SMALL Bronze Ficure 
By Angelo del Nero. A copy of the statuette “Captive,” by 
Michael Angelo. Coated with a turquoise-blue incrustation. 


Height, 8%, inches. 


257—Bronze Faun 
Copy of an old statue, by Angelo del Nero. Coated with a tur- 


quoise incrustation. 
Height, 13 inches. 


958—Bronze STATUETTE 


Faun, with symbols, by Angelo del Nero. Brown and green 


patina. Sienna marble base. 
Height, 94 inches. 


259—Bronze STATUETTE 


Hercules, by Angelo del Nero. Mottled green and brown 


patina. 
Height, 1234 inches. 


RARE CABINET OBJECTS 


260—ANTIQUE RELIQUARY 
Panels of Nielo work. Mounted in silver gilt. 


2961—Smatut Boxwoop Carved PANEL 


Byzantine. Exquisitely carved ornamentation. On the obverse, 
St. George and St. Michael, and on the reverse, Madonna and 
Child and saints. 


262—Smatt GREEN JADE CHARM 
Chinese figure of Jurojin. Mounted in pure gold. 


263—Rare Carved Corat PENDANT 
Satyr’s head. Exquisitely carved in fine pink coral. On the 
reverse, crayfish, carved. 


964—SMALL SItveR PANEL 


Relief and chiselled ornamentation of a scene representing the 


martyrdom of a saint. 
Height, 334 inches, 


265—SmatL Antiaue Gitt Brass PLaaue 
Italian; Sixteenth Century. Madonna and Child. 


266—Rare anp Curious ANTIQUE RELIQUARY 
“The Temptation of Adam and Eve.” Wrought in silver and 
enamelled in colors. Has rock crystal panels on obverse and 
reverse. | 


2967—Repousskt Sinver RELIQUARY 


Of exquisite workmanship. Madonna. Finely executed in 
enamels. Gilt bands. Precious stone encrusted. 


268—Oup RELIQUARY OF THE GREEK CHURCH 


Panel of boxwood. Very finely carved, showing on the obverse 
the Virgin and Child, and on the reverse the Trinity. Mounted 
in a silver frame of Byzantine workmanship, which is set with 
uncut jewels and has three uncut emeralds as pendants; the whole 
hung on long silver chain. 


D. Kelekian Collection. 


268-“A”—Rocxk Crystat MEepALiion 
Portrait of Christ in intaglio. Carved wood stand. 


269—Reticious Mrpation 
Silver gilt. Representing Madonna and Child. 


270—RareE Op PERUVIAN STATUETTE 
Figure of a sun god. Wrought in twenty-four carat gold. 
Height, 21% inches. 


2971—TIwo Oup Sttver PLAQUES 


Repoussé ornamentation, each picturing a saint. Evidently 
taken from a missal cover. 


2972—Oup Crucirix AND RELIQUARY 


Black wood and silver. 


973—Goup Rosary AND CRUCIFIX 


The crucifix set with small diamonds and emeralds. Fine work- 
manship. 


274—Oup SpanisH Reticious OrpER 


Wrought in gold and enamelled in colors. Set with rose dia- 
monds and seed pearls. 


24%5—Goup PENDANT 


Oriental design. Enamelled and set with numerous small bril- 
liants and rubies. Has long gold chain. 


24%6—Smauut Foupinc Fan 


Carved horn. Painted garlands of roses. 


277—TIwo Smartt Foupinc Fans 


Ivory. Exquisitely carved in relief and openwork. Old Chinese 
workmanship. 


278—Surers Ivory Fouping Fan 


Of Chinese workmanship. Skilfully carved in imitation of old 
Point de Venise lace. 


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RARE RELIGIOUS STATUETTES, TRYPTICHS AND OTHER 


OBJECTS IN CARVED IVORY 


279—Oup SPEecIMEN oF Carved Ivory 
Taken from a rosary. On the obverse, a head of Christ; on the 
reverse, a skull. 


280—MInNIATURE Carvep Ivory STATUETTE 


Antique. Figure of Madonna. In a leather shrine. 


281—AnTieuE CarRvED Ivory Ivor 


Hindoo. On wood stand. 
Height, 5% inches. 


282— Fine Ivory Carvine : 
Shape of pilgrim shell, enclosing finely carved group represent- 
ing the “Adoration of the Shepherds.” Mounted on a carved 
stand. 


Diameter, 27% inches. 


283—Carvep Ivory STATUETTE 
Figure of an abbot. Finely executed. Mounted on a carved 
wood base. 
Height, 334 inches. 


984—AntTiauE Ivory PLAQUE 


Madonna and Child. Carved in high-relief. 
Height, 4%, inches; width, 314 inches. 


285—AntiavuE Ivory PANEL 
“The Annunciation.” Carved in high-relief. 


Height, 414 inches; width, 334 inches. 


986—ANTIQUE ITALIAN Ivory TRYPTICH 
Scenes from “The Life of Chirst.” Carved in bold relief. 


Height, 7%, inches; width, 6%, inches. 


287—MInIATURE Ivory CarviIna 


Madonna and Child and Cherubims. Exquisitely executed, and 
mounted on a velvet panel, and framed in carved wood. 


288—Oup Spanisu Ivory STATUETTE 


“Infant Christ.” 
Height, 5% inches. 


2989—Patr Carvep Ivory Twusxks 


Siamese. Grotesque figures, carved in relief. 
Length, 12 inches. 


290—Carvep Ivory Trypticu 
Italian Byzantine; Eighteenth Century. Panels carved in re- 


lief and openwork, and mounted in ebonized frame. 


Height, 7 inches; width, 914 inches. 


2991—Fine Oxup SpanisH Ivory STATUETTE 


Figure of a saint. Finely carved, painted and gilded. 


Height, 5 inches. 


292—Finety Carvep: Ivory STaTvETTE  . *..5, ae eri 
Italian; Seventeenth Century. Figure of Sait ‘Clement. 


Mounted on a painted wood base. 
Height, 7% inches. 


993—Oxup SPANISH CARVED Ivory STATUETTE 


ty Cs 


Sixteenth Century. Assumption of the Madonna. 


Height, 9 inches. 


294—AntTiquE Ivory Pax , 
Carved in high-relief. Mounted on a silver gilt pedestal. 


Height, 734 inches. 


995—EarLy SPANISH Ivory STATUETTE 


A standing figure of the Virgin Mary. 
Height, 81%, inches. 


296—ANTIQUE SpanisH Ivory Group 
Figure of St. John as a youth, and the Holy Lamb. 


Height, 7 inches. 


997—RarE Outp SPANISH STATUETTE 


Seventeenth Century. A Madonna, in attitude of devotion, 
standing on an elaborately carved throne and wearing a silver 


crown. 
Height, 10 inches. 


2998—Oup Ivory STATUETTE 


Figure of St. Joseph and Child. 
Height, 9 inches. 


999—Oup anv Very Curious Ivory Group 


“Spanish; Seventeenth Century. St. John the Baptist as a child. 
Seated on a pyramid showing the waters of life, pelican and 


various religious symbols. 
Height, 8% inches. 


300—F ine Oup Ivory STATUETTE 


Figure of Christ. The robe engraved, painted and gilded. 


Height, 914 inches. 


3$01—Oup Ivory STATUETTE 


Standing figure of St. Patrick. 
Height, 10 inches. 


302—Curtous Otp Ivory Sure STATUETTE 


Spanish; Seventeenth Century. Figure of Saint Magdalen. 
Carved, gilded and tinted. 
Height, 101%, inches. 


$03—Oup Iratian Ivory STATUETTE 


Madonna, with halo, standing on clouds. Black wood base. 


Height, 10 inches. 


304—ANTIQUE Ivory STATUETTE 


Spanish; Seventeenth Century. St. John the Baptist. On 


wood base. 
Height, 11%, inches. 


305—Very Finr Oxup Ivory Group 
Italian; Sixteenth Century. Figures of Madonna and Child, 
St. Sebastian and St. Francis. Mounted on a black wood base 


with ivory feet. 
Height, 12 inches; width, 9% inches. 


306—Antievt Ivory EccriesiastTicAL STAFF 
Flemish; Sixteenth Century. Surmounted by a finely carved 


figure of Madonna and Child. 
Height, 21 inches. 
Daniel Z. Noorian. 


307—Ivory CruciFix 
Of artistic workmanship. Carved figure of Christ in ivory, on 


ebonized cross. 
Height, 24 inches. 


308—Fine Oxp SpanisH Ivory STATUETTE 
Seventeenth Century. Figure of Madonna holding Infant m 
her arms and wearing a silver crown. Mounted on a carved 
tinted and gilded wood stand of globular-shape, with cherub’s 


head in relief. 
Height of figure, 101, inches. 


309—AnTievE Ivory CommMuNION CuP 
Bulgarian; Seventeenth Century. Elaborately carved ornamen- 
tation, with figure of Madonna and Child, various Saints and in- 
scriptions. Artistically executed in high-relief. 


Height, 714, inches; diameter, 5, inches. 


310—Artistic Ivory Cup 
“Triumph of Eros.” Skillfully carved in relief, and undercut. 


Silver gilt mountings and linings. 
Height, 9 inches. 


311—Very Fine Carvep Ivory Trypricu 
Spanish; Sixteenth Century. Panels of scenes in the life of 
Christ. Carved in high-relief within architectural arches of 
Gothic design, and gilded and tinted. Bears the coat-of-arms 


of donor. 
Height, 191%, inches; width, 1814 inches. 


312—Aw Extraorpinary Ivory Tankarp 
Aes Italian; Sixteenth Century. The elaborate ornamentation, which 
of SEFY is skilfully carved in high-relief, represents the birth and triumph 


55g | of Aphrodite. 
Height, 241, inches; diameter, 8 inches. 


313—AntTiqeuE Marsie STATUETTE 


| Italian; Sixteenth Century. Figure of Fortunata. Finely 


} : 
fa Sam sculptored. On marble base. 
Height, 151% inches. 
D,. Kelekian Collection. 


314—AnTIQUE GREEK MARBLE STATUETTE 


ae Figure of Venus, dolphin and cupids. 
// 6 Height, 1614 inches. 


a D. Kelekian Collection. 


315—AntTiIevE IratiAn Marsre Bust 


| f= Jupiter. 
Height, 14 inches. 


316—ANTIQUE Marsir Group 
Italian; Sixteenth Century. ME Child and Saints. 


Height, 17 inches; width, 13 inches. 
Stanford White Collection. 


_. 817—AntTiave Bronze STATUETTE | 
| French; Sixteenth Century. Standing figure of a saint clasp- 


ing a Bible. 
3 Height, 1234 inches. 


318—OLp ReEpoussk SILVER STATUETTE 
St. Peter. Gilt, and set with imitation precious stones. On 


wood base. 
Height, 10 inches. 


Richard Mansfield Collection. 


319—Bronze Ficure or CurRist 


Finely modelled. Golden brown patina. 
Height, 181% inches. 


320—Sitver PorntTer In SHAPE OF A Hanp 
Used by the Jewish rabbis to keep their place when reading. 
Engraved ornamentation. 


321—Oup Byzantine Atms Bow. 
Brass gilt. Repoussé ornamentation of St. George and the 


twelve apostles. 
Diameter, 5% inches. 


322— AntiauE Iron CruTCcH fn ores 
Inscription in gold damascene. Used by practical Togis. 


323—Anriave Greek TryPricu 
Brass and enamel. Figures of saints in relief, and surrounded 
by borders of vine design, filled in with white and black enamels. 


Height, 6%, inches; length, 18 inches. 


394——Carvep Woop Cross, MountTep IN SILVER 


Antique reliquary. Set with imitation jewels. 
Height, 8% inches. 


325—ANTIQUE SPANISH CRUCIFIX 
Silver gilt and rock crystal. Set with imitation precious stones. 
Height, 12 inches. 


$26—Repoussk Sinver BENITIER 


French. Louis XV. period. Figure of Madonna and _ Child. 
Garlands of roses, and elaborate border design in high relief. 


Peeve 
Ce, 


Height, i2 inches. 


rn 
5~ 327—ANnTIQUE SILveR GILT SHRINE 


— 
hy Repoussé panel, “The Descent from the Cross.” Openwork doors. 
Frame encrusted with various stones. 
SA Height, 8 inches. 


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oe \ yp j= f " >) \ 
' A 328—O1p Russian Sinver CHALICE 


Repoussé chased ornamentation. Set with lapis lazuli and other 
y stone. 
Height, 91% inches. 


329—ANTIQUE MOoNSTRANCE 


d, French. Louis XV. period. Repoussé silver and gilded brass. 
oe. | Height, 18 inches. 
Stanford White Collection. : 


330—O.Lp GERMAN CHALICE 


z. i Silver gilt, and set with small enamel plaques depicting scenes 
A Barr from the life of Christ. 
_ | = - Height, 12%, inches. 


331—Oup FRENCH (CHALICE 


ae Repoussé silver, of fine workmanship. Figures of saints in 
t\ ye niches. Openwork borders and animal-shaped feet. Set with 
fr imitation jewels. 


Height, 17 inches. 


332—O.p ByzantTINE RELIQUARY 
Brass gilt, in the form of a figure surmounted by an angel. 


Height, 12 inches. 


{ 833—O.Lp ByzanTINE ALTAR PANEL OR SCREEN 


<) Brass and enamel. Relief ornamentation from scenes of the life 


of Christ. Mounted on a wood stand. 
Height, 15 inches. 


~934—ANTIQUE HaAanukay Licut 


Coat-of-arms in openwork. Hebraic inscription. 


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; \¥ 


~ 335—AntievEe SILVER PLaaue 


Yon \ 
ft \ ” : } 


Moynted in ebonized wood. Numerous panels in fine repoussé, 
‘Tludkating scenes from the life of Christ. 


Height, 18 inches; width, 14 inches. 


336—O.Lxp SILVER AND Brass Crown 


French. Louis XV. With fine repoussé ornamentation. 


Height, 18 inches. 


3837—VALUABLE Oxup ITALIAN SILVER CASKET 


Made in one of the Italian cities, and presented to Napoleon with 
the keys of the tower. Fine repoussé panels, illustrating the 
historical event. Surmounted by a figure of Napoleon on horse- 
back, and supported by Napoleon eagles. Gilt lined. 


Height, 11 inches; length, 13 inches; width, 6 inches. 


38388—ANTIQUE SPANISH RELIQUARY 


A shrine of many saints. Repoussé silver frame, with numerous 
compartments containing relics of various saints, surrounded by 
an outer frame of carved wood, gilded and painted. 


Height, 23 inches; width, 13 inches. 


339—Rare ANTIQUE FRENCH TRYPTICH 


Carved and gilt wood, with panels of fine old Limoges enamel 
depicting the Annunciation. Has an outer case of old parch- 


ment, decorated. | 
Height, 11 inches; length, 13 inches. 


$40—ANTIQUE Ort PAINTING 


Italian School. Subject, “The Holy Family.” Painted on 
copper. Mounted in old tortoise frame. 


Height, 9 inches; width, 7 inches. 


341—O.up Limocrs ENAMEL PLAQuE 


“Adoration of the Magi.” Mounted in an old ebony and tor- 
toise-shell frame. 
Height, %1%, inches; width, 5% inches. 


$42—Fing Otp Enamet PLaQur 
“’The Seasons.” Mounted in a black wood frame. 


Height, 10 inches; length, 111% inches. 


343—Russian EnamMet PANEL 


Of artistic workmanship. Figure of St. Michael. Mounted in 
a carved and gilt wood frame of Gothic design. Paris Exposi- 


tion of 1900. 
; Height, 11 inches; width, 71 inches. 


344—ELABORATE ReEpoussE SILVER BENETIER 


Italian; Early Sixteenth Century. Figure of Madonna and 
Child, and Cherubs in high relief, with an aureole background. 
. Mounted on a velvet panel, and surrounded by a.black wood 
frame, which is ornamented with silver gilt repoussé panels de- 


picting various saints. 
Height, 274, inches; width, 20 inches. 


A \ 
| 


~~ 


~ 


THIRD AFTERNOON’S SALE 
SATURDAY, FEBRUARY 5rn, 1910 
AT THE AMERICAN ART GALLERIES 
BEGINNING PROMPTLY AT 2.30 0’CLOCK 


RARE OLD ECCLESIASTICAL FIGURES 


345—Iratian Carvep Woop Group 
“Pieta.”” Polychrome decoration. Gilt wood base. 


Height, 41% inches. 


346—OLp SPANISH STATUETTE 


aoe “St. Rita.” Carved wood. Polychrome decoration. 


Height, 10 inches. 


347—Orp Spanish Carven Woop Sratvrrre 
“St. Vincent.” One of the most celebrated martyrs of the early 


r)O Church. He was one of the deacons of Rome in the Pontificate 


it of Sixtus I., and as such was especially charged with the care of 
the poor, the orphans and widows. He was tortured and put to 
death at the time of the persecution of the Christians under the 


Empero Valeriano. 
Height, 11 inches. 


348—Oxrp Carvep Woop STATUETTE 
Spanish; Seventeenth Century. “The Assumption of the Vir- 
gin.” Richly carved figure standing on globe, supported by 
cherubs. The serpent and crescent moon are at her feet. Poly- 


chrome decoration. 
Height, 11 inches. 


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349—Oup Iratian Woop StaTuEtTtTe 


“St. Brage.” Face and hands painted. Dressed in the vest- 
ments of his order (a bishop’s) and holds a crozier. 


Height, 111% inches. 


3850—O.p ITALIAN CARVED Woop STATUETTE 


“St. Francis of Paula.” A. D. 1508. Born in 1416, at Paula, 
a small town in Calabria; died on April 2nd, 1508, at the age of 
ninety-one. Canonized by Leo X. in 1519. His body remained 
incorrupted in the Church of Plessis les Tours till the year 1562, 
when the Huguenots broke open the shrine and found it entire, 


fifty-five years after his death. 
Height, 12 inches. 


351—OLpD SPANISH STATUETTE 
Figure of a Pope. Carved wood. Polychrome decoration. 


Height, 13 inches. 


3852—Oup SPANISH STATUETTE 


“St. Gertrude.” Carved wood. Very fine. Polychrome deco- 


ration. Silver cross and halo. 
Height, 14 inches. 


353—Oxup SPANISH CarRVED Woop STATUETTE 


“St. Anthony of Padua.” <A. D. 1231. Although this saint 1s 
called St. Anthony of Padua, he was a native of Portugal and of 
Lisbon, its capital. His father’s name was Martin de Puglione, 
his mother’s Maria de Tevera. At his baptism he was given 
the name of Ferdinand, and at the age of fifteen he joined the 
Augustinian Order, in the house of St. Vincent, outside the gates 
of Lisbon. Afterwards he joined the Franciscan Order in the 
little convent of St. Anthony at Coimbra. He died at the age 
of thirty-six, on the 18th of June, 1231, and his body is visible 
at the present day in the Church of St. Anthony at Padua. 
This saint is generally represented with the Infant Jesus in his 
arms. St. Anthony is invoked by travellers and for the recovery 


of things that have been lost. 
Height, 151%, inches. 


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$54—Carvep Woop STATUETTE 


Spanish; Seventeenth Century. “St. Paul.” Polychrome deco- 

ration. St. Pablo, the apostle of the Gentiles, was born of 

_ Jewish parents at Tarsus, in Galicia, studied at Jerusalem, under 

fo the great doctor Gamaliel, afterwards becoming one of the most 

“2 €)° strict and zealous Pharisees. St. Pablo suffered martyrdom at 
4 Rome in the year 67 A. D. 


355—Ouxp ITALIAN STATUETTE 


LH“ “Mater Dolorosa.” Carved wood. Polychrome decoration. 


Height, 14 inches. 


356—O.up SPANISH STATUETTE 


v7 “St. Domingo.” Carved wood. Polychrome decoration. 
/. Height, 13 inches. 


357—Ox.p SpaANisH Carved Woop 
STATUETTE 


Polychrome decoration. “St. 
Eufemia,”’ a virgin said to 
have been of royal descent in 
Alexandria, who, publicly con- 
fessing the gospel at a sacri- 
ficial feast appointed by the 
Emperor Maximus, was put to 
death, after being tortured, in 
the year 307 A. D. 


Height, 14%, inches. 


358—Oup SpanisH Carvep Woop 
STATUETTE 
“St. Michael.” Polychrome 


decoration. 


358 Height, 15 inches. 


rey) 


359—Oip Spanish Carved Woop 


STATUETTE 

Polychrome decoration. se} 
Gregory the Great.” A. D. 600. 
St. Gregory the Great will be an 
everlasting honor to the Bene- 
dictine Order and the Papacy. 
By his genius, but especially by 
the charm and ascendancy of his 
virtue, he was destined to organ- 
ize the temporal power of the 
Popes, to develop and regulate 
their spiritual sovereignty, to 
found their paternal supremacy 
over the new-born crowns and 
races which were to become the 
great nations of the future and 
to be called France, Spain and 
England. It was he who inaugu- 
rated in the Middle Ages modern 
society and Christian  civiliza- 
tion. He established in his pal- 
ace on the Coelian Hill at Rome 
a convent dedicated to St. An- 
drew, into which he introduced 
the Benedictine rule and himself 
became a monk in 575, and was 
elected Pope in 590. He died on 
the 12th March, 604, aged nearly 
fifty-five, in the thirteenth year 
of his Pontificate. Buried at St. 
Peter’s at Rome. 


Height, 19 inches. 


360—O.Lp SpanisH CArvep Woop STATUETTE 


Polychrome decoration. St. Florian, patron saint of Poland. 

At the time of the persecutions of the Christians, St. Florian 
was drowned in the river Ems by 
the soldiers of the Emperor Dio- 
cletian, for his voluntary confes- 
sion of Christ. St. Florian is 
honored in legendary lore as an 
extinguisher of fires, owing to 
the many miracles he performed 
in saving houses from burning 
and lives from perishing. 


Height, 18 inches. 


361—Oxup SpanisH CarveED Woop 
STATUETTE 


Polychrome decoration. ey. 
_/) Pius V., Pope.” Michael Ghis- 
liere, afterwards Pius V., was of 
humble extraction. Born at 
Bosco, near Alexandria, in 1504, 
entered the Convent of the Do- 
minicans at the age of fourteen. 
On the death of Pius IV., Decem- 
ber 9th, 1565, he was elected to 
fill the vacant chair at St. Peter’s. When he felt that death was 
approaching, he visited the seven Basilican churches in order, 
as he said, to take leave of the holy places. Three times he 
kissed the lowest steps of the Scala Santa, and then returned 
to die in the Vatican on May Ist, 1572, at the age of sixty- 
eight, having governed the Church six years and almost four 
months. His relics lie in the Church of St. Maria Maggiore at 
Rome. 


360 


Height, 20 inches. 


362—O.up SPANISH CARVED Woop STATUETTE 


Figure of Magdalene, in kneeling attitude. Polychrome deco- 


ration. Mounted on a gilt wood stand. 
Height, 1414, inches. 


363—OLpD SpanisH CarveD Woop PanEu 
Door of a tabernacle. Figure of the Madonna and Cherubs in 
relief. Polychrome decoration. 


Height, 12%, inches; width, 91% inches. 


364—OLD SPANISH SHRINE Door | 
A scene representing the “Garden of Gethsemane.” Carved in 
high-relief and covered with a polychrome decoration. 


Height, 161, inches; width, 11 inches. 


365—OLpb SPANISH SHRINE Door 


Bold relief carving of “The Holy Lamb” and cherubs. Poly- 


chrome decoration. 
Height, 18 inches; width, 101% inches. 


366—Pair Revievary FRAMES 


Italian. Carved wood and gilt. 
Height, 19 inches. 


367—Oup SpanisH Carvep Woop Group 


Of very fine workmanship. St. Anne and Virgin Mary as a 


Child. Polychrome decoration. | 
Height, 19 inches; width, 12 inches. 


368—OLp SpanisH Carved Woop STATUETTE 
“St. Anthony of Padua,” with the Infant Christ standing on a 
book, which he holds in his left hand. Fine polychrome deco- 


ration. 
Height, 22 inches. 


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369—EXTRAORDINARY OLD SPANISH STATUETTE 

Skillfully carved and polychrome decorated. “Assumption of the 
Virgin.” This statuette is attributed to Joaquim Machado de 
Castro, the celebrated sculptor of the bronze statue of King 
Joseph I., that is erected in the Place de Commerce at Lis- 
bon. He was a pupil of the noted Italian sculptor Alex Guisti, 


Ps (50. 
Height, 28 inches. 


370—AnTIQUE CarvED Woop SHRINE 
rae. . Spanish; Sixteenth Century. Polychrome decoration. 


Height, 24 inches; width, 18 inches. 
Stanford White Collection. 


371—Parr Op SpanisH ALTAR STATUETTES 


tee Angels. Carved, painted and gilded wood. 
5 Height, 29 inches. 


372—Larcre Carvep Woop STATUE 


Spanish; Sixteenth Century. Figure of St. Lawrence. Fine 


| Polychrome decoration. 
i eke . Height, 36 inches. 


3738—O.Lp SpanisH Larce STATUE 


Carved wood. Polychrome decoration. “St. John the Evangel- 
ist Preaching.” A remarkable specimen, said to be the work of 
| A a monk in an old monastery, who evidently loved his work. 


Height, 34 inches. 


374—LarcEe Carvep Woop STATUE 


Spanish; Sixteenth Century. Figure of Saint Rita. Very fine 


7 & - 
YQ. polychrome decoration. 
Height, 39 inches. 


375—Larcr Antieve Carven Woop Grovr 
Sixteenth Century. St. Anne and the Virgin as a Child. 


A ‘ Height, 54 inches; width, 22 inches. 
\ \ ° 
./ , Talbot J. Taylor Collection. 


376—Larcr ANTIQUE SHRINE 


From India. Carved wood. Buddha seated on a lotus throne, 
which is supported by a sacred cow; on either side her attend- 
ants. Border and canopy carved in relief and openwork. Poly- 
chrome decoration. 

Height, 50 inches; width, 21 inches. 


377—ANTIQUE SPANISH BAS-RELIEF 


Sixteenth Century. Finely modelled in composition. Poly- 
chrome decoration. 
Height, 27 inches; width, 18 inches. 


378—ReE iquary FRAME 
Old Italian. Carved and gilded wood. Lined with old Genoese 


velvet. 
Height, 13 inches; width, 13 inches. 


379—CarvED AnD Girt Woop Fan Case 
For two fans. Lined with pink silk. 


Height, 18 inches; length, 28 inches. 


BEAUTIFUL OLD EMBROIDERIES, TEXTILES AND 
'MISSALS 


379-A—Oxp Spanisno Manuscript 


With illuminated title pages and numerous initials. Bound in 
old-red velvet. 


379-B—Oup SpanisH Manuscripr 


With illuminated title pages of coats-of-arms and numerous ini- 
tials. Bound in red morocco, with tooled and gilt ornaments. 


379-C—Oup SpantsH Manuscript 


fe With three full-page illuminated titles and numerous initials. 
Bound in green morocco, with tooled and gilt ornamentation. 


379-D—Oup SpantsH Manuscript 
With two illuminated title pages, numerous initials and titles. 
Bound in full calf, with tooled and gilt ornamentation. 


| C 


' 


379-E—Oup SpanisH MANUSCRIPT 


With three full-page illuminated titles, and numerous initials 
and titles. Bound in full calf, with tooled and gilt ornamenta- 
tion. 


379-F—Onxup Spanish MANUSCRIPT 


With three illuminated title pages, numerous initials and titles. 
Bound in old-green velvet. 


379-G—Onup SpanisH Manuscript 


With three illuminated titles and numerous initials. Bound in 
green velvet. 


379-H—Oup Irarian Missa 


Dated 1716. With numerous full-page engraved illustrations and 
engraved initials. Richly bound in red velvet and metal thread 
embroidery. Coats-of-arms on obverse and reverse of cover. 


379-I—Evaporate Irartan Missau 
Dated 1841. With full-page engraved illustrations and en- 


\ graved initials. Bound in red velvet with repoussé silver corner 
ornaments and medallions. 


379-J—ELABORATE Oxtp JIratian Missa 


Dated 1706. Illustrated with numerous full-page engravings 
and initial letters. Bound in red plush and embellished with an 
elaborate repoussé silver ornamentation. 


3880—Antieur Irauian EscurcHEeons 


One with embroidered cardinal’s hat, the other with heraldic 
shield and animal. 


Vitall Benguiat Collection. 


381—ITALIAN SEVENTEENTH CENTURY CHALICE COVER 
Gold embroidered holy flowers and scrolls on cream silk. 


Vitall Benguiat Collection. 


382—Oup ITraLIAN EMBROIDERED MANIPLE 


Sacred flowers in brilliant silks, and bold, leafy scrolls in gold 
thread. 


ie 
ws 


383—SPANISH EMBROIDERED RELIQUARY 


Seventeenth Century. With gold, silver and silk needlework on 
cream satin, with picture of the Annunciation on obverse, and 
figures of saints on the reverse. Borders of imitation jewels. 


Vitall Benguiat Collection. 


384—Oup Iranian NEEDLEWORK MINIATURE FRAME 


Early Seventeenth Century. Gold Embroidery of scroll and 
other design. <A picture of Christ, painted on parchment, in- 
serted. 


Vitall Benguiat Collection. 


3885—SPpaANIsH EMBROIDERED PICTURE 


Of the Renaissance period. Centre medallion of Christ encircled 
in an embroidered cartouche frame, surrounded with bunches of 
grapes. The face of the figure is of solid needlework of excep- 
tionally fine drawing and clever execution. 


Vitall Benguiat Collection. 


3886—Two Oup NeEepLeworxk Picrurss } 
Oval. Madonna and Child, and figure of Saint Andrew. 


387—Otp Iratian NEEDLEWORK PicTuRE 
Christ ; embroidered in floss silk and gold threads. 


388—SmaLuL Antique Tapestry Picture 
Spanish; Sixteenth Century. Head of Christ as a Youth. 


889—F ine Oxp Tapestry Picture 


Madonna and Child. Finely woven in rich colors. 


Length, 201%, inches; width, 17 inches. 


390—Set or Four Oup SpanisH TaAssEts 
Red silk and gold threads. 


91—Parir Oxp Spanisu TAssELs 
f(y? Ruby-red velvet and gold thread. 


392—Pircre or Oxp BrocapE 
Old rose. Satin ground, with beautiful Oriental designs woven 


_" LY in metal thread. 
\ “isl Length, 221%, inches; width, 20 inches, 
- : 


393—Oup EnceuisH EccLEsIASTICAL BANNERETTE 


F, From a monastery. Embroidery on ruby-red Genoese velvet, 
Mm ' depicting the crucifixion, with Christ on the cross and Mary 
+ and John in reverence. The ground is strewn with skulls and 
f° bones, intended to remind the monks of the brevity of life. Edged 
with bullion fringe. 


, 894—F ine Oxtp Genorsr Borver 
» “ — Rose-pink embossed velvet, edged with silver lace. 


. Length, 10 feet; width, 5 inches. 
Vitall Benguiat Collection. 


395—Patr Iratian Covers 


Louis XIV. design. Yellow, cut velvet of bold floral pattern, 


A\7 edged with silver galloon. 
¥ Each: Length, 241 inches; width, 21 inches. 
| Vitall Bengwiat Collection. 


(396—Ox» Curnese Rep VELVET PANEL 


/ 


\. Cloud-forms. Brocaded in gold threads and in reserve. 
r Length, 34 inches; width, 19 inches. 


397—Sumptvuovs Mirre 
| Old Italian. Floral patterns and leafy scrolls, embroidered in 
5 a gold thread on cloth of silver. Elaborate embellishments in imi- 
ol ee tation of precious stones. 


oe 


398—Beautirut Orv BrocapE Pane 
Bold Oriental floral designs, woven in silver and gold threads on 
an old rose satin ground. Edged with wide gold galloon. 


Length, 44 inches; width, 221% inches. 


399—Iratian SIXTEENTH CENTURY BANNERETTE 
Green velvet, with centre design of chalice and inscription “Panem 
De. Celo,” and the border of Renaissance scrolls. 


Length, 25 inches; width, 22 inches. 
Vitall Benguiat Collection. 


400—O.Lp Cuinese Cut VELVET Pane 
Ruby-red ground, with symbols and cloud-forms in a lighter 
shade. Edged with old gold galloon. 


Length, 34 inches; width, 22 inches. 


401—Patr Beautrirut Cur VELVET PANELS 
Old Chinese. Rich ruby-red color, with sacred flowers, Bud- 
dhistic symbols and butterflies in a lighter shade of red. Borders 


of floral design. 
Length, 671, inches; width, 22 inches. 


402—BeavuTiruL Buus VELVET Capa 
Eighteenth Century; Portuguese. Armories of a double-headed 
eagle holding a sword. Richly embroidered with gold and silver 
bullion. 


Vitall Benguiat Collection. 
Length, 441, inches; width, 26 inches. 


403—O.p SpanisH BANNER 
Ruby-red, Genoese velvet, ornamented with five bands of gold 
galloon And trimmed with gold, corded lace. 


/ Length, 3 feet 8 inches; width, 3 feet. 
one , 


/ 
/ LH | 


405—Oxp Persian Vetvet Pane 


Richly embellished, with Arabesque and scroll designs in gold 
embroidery. Edged with old gold galloon. 


Length, 52 inches; width, 25 inches. 


406—Ricu Taste Cover 


Bold floral patterns in cut and uncut velvet on a flame-red satin 


A 4 ground. Edged with gold galloon. 
t ‘ 
) Length, 461, inches; width, 361, inches. 


407—Very Otp EmpBromwErRED ORPHREY 


ra Italian Renaissance. Madonna and Child and saints in needle 
\\% painting. Sacred flowers in colored silks, and borders in gold 
: bullion threads. 


Length, 7 feet 2 inches. 


£2 408—OLp Iraian CHASUBLE 
> 


a 7 Silk brocade. Passion flowers, woven in low tones on a salmon- 
\ 
pink satin ground. 


409—Sumprvuovus CHASUBLE 
¢ Italian; Sixteenth Century. Cream-color gros-grain silk, elab- 
ho" orately and richly embellished with holy flowers and bold scroll 
| designs. Embroidered in brilhant colors of silk in gold and | 
silver threads. 


410—Ricu RENAISSANCE CHASUBLE 


\" needle painting. Figure of Madonna and Child and saints, and 


» Ene Gothic ruby-red velvet, with orphrey of gold embroidery and 
) urns of tulips in niches of architectural design. 


411—Beavtirut OLrp Gotuic CHasuBLE 
Fine embossed green velvet, with orphrey and needle painting 
(| 8: and gold thread embroidery. Figures of Madonna and Child 
iar and saints executed in fine tones within niches of architectural 


design. Bound with old gold thread galloon. 


411-A—Cuasusie anp Manrrtes 
Italian; Sixteenth Century. Fine embossed red velvet. 


411-B—Iraian RenalssAncE CHASUBLE 
Old-red satin damask, with wide band of gold thread needlework 
of vase and scroll design, worked in high-relief on old Genoese 
red velvet. Trimmed with silk galloon. 


411-C—Scumrtuovus CuHasuBLe 
Italian; Seventeenth Century. Cloth-of-gold and silk brocade 
of floral design, embellished with orphreys of needle painting 
and gold thread embroidery. Figures of Madonna and Child and 
Saints in medallions. Trimmed with wide bullion lace. 


411-D—Beravtirut Goruic Vetvet Corr 


With hood. Bold floral designs in relief in ruby-red velvet on a 
red satin ground. Borders of gold cord needlework, and edged 
with gold galloon. 


412—-Sumpruovus ANTIQUE CHASUBLE 


Arras embroidery of sacred flowers, birds and leafy scrolls, exe- 
cuted in rich colors of silks and metal threads on a white ground. 


413—BravtiFruL ITavian RENAISSANCE CHASUBLE 
Rich ruby-red Genoese velvet, with orphreys of needle painting 
containing medallions of saints, surrounded with Arabesque scrolls 
of appliqué and gold embroidery. Bound with old thread gal- 


loon. 


Vitall Benguiat Collection. 


414—Sumptvuovus OLp VENETIAN CHASUBLE 

; White gros-grain silk, profusely and richly embellished with pas- 
sion flowers, birds and scroll patterns, beautifully executed in 
silk and gold thread needlework. Trimmed with gold bullion 


lace. 


415—Rare Ovp Goruic VELVET CHASUBLE 


Seraphs, saints and symbols, executed in low tones of silk in 
bullion thread. 


416—Sumrruovus ALBANIAN CosTUME 
A Ruby-red velvet, richly embellished with gold embroidery and 
J trimmed with exceptionally fine gold galloon. 
Vitall Benguiat Collection. 


417—Pair Beavutirut Lone Wau PANELS 


: f Portuguese. Ruby-red Genoese velvet, with bold scroll and floral 
eae” Bg designs in cloth-of-gold appliqué; lower end finished with gold 
thread fringe. 

Length, 8 feet; width, 20%, inches. 


418—O.p Iratian Attar Cover 
i 4 Filet lace, with eight insertions of the Renaissance cover. 


J/ Length, 7 feet; width, 30 inches. 
ig Vitall Benguiat Collection, 1905. 


/ j : 419—Sicizian Drawn Work Linen ALTAR FRONTAL 
A 


UD Consisting of six panels and border of pure Sicilian design. Six- 
teenth Century. 
Length, 7 feet; width, 24 inches. 
_f 420—Ovup Fiver Lace Asa FLouncE 
p=: 
Te x Design of vases of flowers, branches and scrolls. 


Length, 6 feet; width, 16% inches. 


_ 421—Lacr SHAawi 
\O- Delicately executed floral and scroll designs; has _ scalloped 


: edge. 


al 


| 
: 


6 feet 7 inches square. 


422—Fine Ovp Finet Lace PAneu 


\ es, “The Assumption.” Finely executed. 
/\ Length, 5 feet; width, 3 feet. 


423—Partr oF ITALIAN RENAISSANCE CURTAINS 
Filet lace, with vine and grape design. Very rare. 


Length, 10 feet 6 inches; width, 4 feet. 


424—Patr Hanpsome Itarian Lace Curtains 
ob Exceptionally fine Renaissance filet lace of bold vine design. 


Length, 9 feet; width, 5 feet 6 inches. 
Vitall Benguiat Collection. 


425—A MacaniFIcENT BANNER 


Red velvet of the Louis XV. period. Centre design of cartouche 
shield, surmounted by a crown with festoon above. The design 
of the filling is of foliated scrolls terminating with flowers. Exe- 
cuted with metal threads. Trimmed with gold galloon and silk 


tassels. 
Length, 5 feet 3 inches; width, 3 feet 2 inches. 


426—Very OLtp CHurcH BANNER 


Red Genoese velvet, embellished with a painted picture of Ma- 
donna and Child, which is surrounded by borders of silver lace. 
Inscription, “Ave Maria,” and wide outer border, also of silver 


lace. 
Length, 6 feet 6 inches; width, 3 feet 6 inches. 


427—Sumptruous EccuLESIASTICAL BANNER 


Venetian; Sixteenth Century. Old Genoese red velvet, embel- 
: lished with silver thread embroidery and a central medallion of 
the Holy Family painted on canvas. Border of sacred offerings 


in raised silver needlework. 
Length, 6 feet; width, 3 feet 8 inches. 


428—ManpDARIN ROBE 


Embellished with Imperial dragons pursuing the sacred pearl; 
cloud-forms and symbols of longevity, embroidered in gold 
threads and silks of brilliant colors. Wide band at bottom and 
round sleeves of wave designs in floss silks. 


429—JaPpANESE WALL Pane 
Figured gray satin brocade, beautifully embellished with a life- 
K size peacock on pine tree branch, skillfully embroidered in natural 
is color silks, enhanced by gold threads. 
Length 54 inches; width, 35 inches. 


430—Sumprtuous JAPANESE Hancine 
Blue satin and cloth-of-gold brocade; stork crests and diaper pat- 
terns woven in gold threads and colored silks on a dark blue satin 
ground. Lined with orange-color India silk. 


ee 
¢ % 
: . 


! Length, 7 feet 3 inches; width, 6 feet 7 inches. 


431—ELABORATE JAPANESE PaLace Hancine 
Silk and satin brocade of ashes-of-rose tint, sumptuously embel- 
lished with storks and lotus in bloom; beautifully embroidered in 
harmonious tones of silk, and executed in high-relief. Edged 


with a wide band of blue silk brocade. 


Length, 7 feet 6 inches; width, 5 feet 1 inch. 


432—AntTiqguE Russtan NEEDLEWORK PICTURE 
| Madonna and Child and two Saints. Embroidered in silks and 
ary metal thread; surrounded by gold galloon. Mounted in black 
se og wood frame, under glass. 


433—Patrr Ord Frencu Borpures 
For altar frontals. Medallions, illustrating the ‘Last Supper” 
Ps and ‘Christ in the Garden of Gethsemane,” executed in needle- 
; J work. Framed in gold and silver bullion threads, and on either 
Lo side figures and scroll designs, embroidered in low tones of silk 
on a gros-grain red silk ground. Framed and under glass. 


Vitall Benguiat Collection. 


434—Very Ovp Iratian Cuarice VEIL 
Embroidered emblems of the Crucifixion and sprays of holy 
flowers, embroidered in gold bullion thread and colored silks on 
cream-color silk. Very fine specimen. Framed in black wood and 


double glass. 


435—Very Curious Orp EMBROIDERED PANEL | : 
Needlework, in bullion threads and colored silks on white satin ; 
represents a Saint praying before an altar, an angel bearing a 
relic, cherubs and banderoles, with Latin inscriptions. Dated 
1780. Framed in black wood, under glass. 


Height, 4314 inches; width, 30% inches. 


436—VeEry OLtp EmBromweEerEep PICTURE 
Italian; Sixteenth Century. “The Adoration of the Magi.” 
Embroidered in silver threads and colored silks on red Genoese 
velvet. Framed in black wood, under glass. 


Height, 17 inches; length, 32% “inches. 


437—FramMED OLD EMBROIDERED PANEL 
Italian; Sixteenth Century. “Crowning of the Virgin.” Vari- 
ous symbols and a sumptuous border, embroidered in low tones 
of silk and gold and silver threads on red Genoese velvet. Framed 


in black wood, under glass. 
Height, 21%4 inches; length, 26%, inches. 
Vitall Benguiat Collection. : 


438—AntTIQUE FLORENTINE CHURCH BANNER 


Cream-color silk, elaborately embellished with a scene represent- 
ing a picture of the Madonna and Child resting on clouds and 
crowned by cherubs, and figures of admiring saints; embroidered 
in colored silks and metal threads. Wide border of passion 
flowers and leafy scrolls, beautifully executed in silk and metal 


thread. 
Length, 5 feet 4 inches; width, 381% inches. 


439—Ricu Ovp VENETIAN TABLE-COVER 
Old red satin ground, with beautiful Oriental designs woven in 
silver threads and harmonious tones of silk. Edged with gold 


galloon. 
Length, 5 feet 8 inches; width, 3 feet 6 inches. 


i ee 


440—Ricu Door Hancine 


Ruby-red Genoese velvet, with borders of gold galloon and edged 
with deep bullion fringe. 
Length, 7 feet; width, 4 inches. 


441—ITALIAN RENAISSANCE COVER 


Royal purple velvet, bordered with floral and leafy scroll designs ; 
embroidered in gold and silver threads, edged with silver lace. 


Length, 6 feet 5 inches; width, 43 feet 4 inches. 


442—_BrautiruL ANTIQUE ALTAR FRONTAL 


Italian; Sixteenth Century. Old Genoese red velvet, embellished 
with figures of Madonna and Child and three Saints; beautifully 
embroidered in silk and needlework, and enclosed in frames of 
appliquéd scrolls within arches of architectural design, edged 
with silk fringe. 

Length 6 feet 1 inch; width, 28 inches. 


443—Patr Sumpruovus ALTAR FRONTALS 


Italian; Seventeenth Century. Olive-green velvet, elaborately 
embellished with a central urn and flame, bold leafy scrolls and 
: floral festoons; embroidered in bullion threads edged with gold 


galloon. 
Length, 68 inches; width, 251%, inches. 
Vitall Benguiat Collection. 


444—Ricu Orp Spanish EMBROIDERED ALTAR FRONTAL 


Ruby-red velvet, embroidered in Renaissance design of interlaced 
scrolls, with conventional flowers in bullion and silver needlework ; 
trimmed with rich gold and silk fringe. | 

Length, 8 feet; width, 3 feet. 
Vitall Benguiat Collection. 


445—Parr Irartan RENAISSANCE LAMBREQUINS 
Of ruby-red velvet, with heavy bullion and silver embroidered 
_ border and two divisions; design of conventional scrolls, flowers, 
heads and dragon flies, embellished with corals. 


Length, 7 feet 6 inches; width, 1 feet 8 inches. 
Vitall Benguiat Collection. 


446-—Rare AND InTEREsTING OLp EncutsH VALANCE 


Of the Elizabethan period. Embroidery on ruby-red velvet, with 
design of scrolls, flowers, animals and birds, executed in silks and 
bullion thread, and three circular medallions in cartouche frames 
depicting “The Banishment of the Garden of Eden,” “Noah with 
the Animals and Birds Entering the Ark,” and “St. Francis 
Preaching to the Lower Animals.” In petite point. 

Length, 13 feet; width, 18 inches. 


447—ELEGANT PorTIERE 


Red Gothic velvet, with long panel of scutari velvet; design of 
sacred lotus, tulips and other passion flowers, with gold scrolls 
in golden-yellow and ivory-white in reserve on a ruby-red ground; 
the lower edge with tassel fringe. : 

Length, 10 feet; width, 3 feet 10 inches. 


448—Patr Ricuw PorrireREs 


Fine red silk velvet, embellished at top and bottom with panels of 
Italian Renaissance. Gold thread and silk embroidery, and edged 
with gold thread galloon. 


Length, 9 feet 2 inches; width, 3 feet 6 inches. 


449—Sumrptruous Onp Iranian Por- 
TIERE 


With Van Dyck valance. Fine 
red silk and satin damask,’ beau- 

¢ ©, tifully embellished with an elab- 

¥, orate border of ~ conventional 
scrolls, passion flowers and birds, 
executed in gold and silver thread 
needlework and in high-relief. 
Length, 11 feet; width, 3 feet 9 inches. 
Vitall Benguiat Collection, 


450—Patr Sumpruovus Wart PANELS 


Old Spanish. Ruby-red silk vel- 

| J * vet, elaborately embellished with 

‘bold leafy scroll designs in cloth- 

of-gold appliqué; bound with gold 

galloon and edged with deep gold 
thread fringe. 

Length, 7 feet 6 inches; width, 3 feet 8 inches. 


450 


5 


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9 


451 


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“ 451—Gorcrous Oup SPANISH PALACE COVER 


Rich ruby-red silk velvet, profusely embellished with sun burst, 
leafy scrolls and floral patterns in cloth-of-gold appliqué; bound 
with wide gold galloon and edged with deep gold thread fringe. 


Length, 9 feet; width, 5 feet 5 inches. 


452—SUPERB CLOTH-OF-GOLD COPE 


Spanish; Seventeenth Century. The general hue of the ground 
i is a pale, silvery gold, over which the silk embroidery, wrought 


in tones of dove-gray, silvery white and delicate pink, lavender, 
crushed strawberry and cool and yellow greens, sheds a soft opal- 
escent sheen. Its design, involving a left and right repeat, con- 
sists of a system of scroll-work, issuing from the centre and 
spreading over the whole field. Growing out of the acanthus 
volutes are sprays of natural leaves interspersed with realistic 
tulips, anemones, and roses of old pink hue—flowers that are 
sacred to the Virgin. Some of the spaces enclosed by the 
volutes are filled with a diagonal interlace of silk thread. The 
whole is edged with silver galloon. 


Height, 3 feet 4 inches; length, 8 feet 11 inches. 


453 


453—MAGNIFICENT EMBROIDERED ALTAR FRONTAL 


Spanish; Seventeenth Century. The ground is of crimson 
Genoese velvet, edged along the base and two-thirds up the sides 
: with narrow gold fringe. It is embellished with a quasi-architec- 
tural design in high-relief, executed with silver thread. Six 
pilasters, connected at the top by a cornice, divide the field into 
five panels: a large central one, and, on each side of it, a narrow 
one, flanked by a broader. The last, on left and right, con- 
tains an arch, supported on Byzantine columns, in the _half- 
round. Within it is an arrangement like a Renaissance window 
—a balustrade, from which spring side columns supporting an 
arch, surmounted by a pediment. Inside the frame thus formed 
appears a vase with a spray of seven-petaled flowers. The two 


narrower panels contain a somewhat similar design, but its open- 
ing is filled with a diagonal lattice-work. Below this is an arch 
in perspective. The arch in the central panel is also shown in 
perspective, springing on each side from two columns, between 
which is represented the tiling of a floor. From the under side 
of the arch hang festooned sprays, sprinkled with eight-petaled 
flowers, beneath which is a decorated cartouche. Its crimson 
field is divided by a blue chevron, the upper part bearing two 
gold stars; the lower, one. Gold cartouches also embellish. the 
bases of all the pilasters. 


Height, 3 feet 3 inches; length, 6 feet 10 inches. 


454—BEAUTIFUL ALTAR FRONTAL 


The entire field is enriched and encrusted with silver thread, 
applied in various stitches, on which the ornament is raised in 
varying relief. It is bordered at the top with a narrow interlace 
of wave-forms, executed in the half-round and enclosing circles 
that are filled in with jewel-like spots of crimson, salmon and 
pale blue silk. The bottom terminates in a silver fringe. The 
central embellishment is the monogram of the Virgin, ““M. A.,” 
interlaced beneath a crown that is decorated with a fleur-de-lis. 
This is wrought in gold thread, raised and ribbed. Below it are 
roses in crimson and grey-salmon and cream silk. On each side 
of it appears a conventionalized peacock, and surmounting the 
crown are two magnificent Turk’s-head lihes in crimson, fawn 
and cream silk, with a bird on the stem of each. These details 
establish the motive for the rest of the decoration that spreads 


over the whole field. It consists of scrolls, sometimes bluish, 
sometimes yellow, out of which grow in magnificent profusion 
conventionalized Turks’-heads and lies, that blend a rich dull 
claret-color with the hues already mentioned. Here and there 
appears a bird—a goldfinch and a bullfinch being distinguish- 


able among them. 
Height, 3 feet; length, 8 feet 4 inches. 


455—EXTRAORDINARY ITALIAN RENAISSANCE EM- 


BROIDERIES, CONSISTING OF TWO COPE HOODS 
AND THREE SETS OF ORPHREYS 


The ground of all these pieces is wrought in gold thread, 
through which the colored silks have been drawn to represent 
the draperies of the figures, while the flesh parts are needle point, 
the silk in some parts being worn away, so that the painted 
silk underlay is disclosed. ‘The main colors of the silks are blue, 
rose, yellow and green, which, blending with the gold, acquire 
from the latter a shimmer and scintillating splendor. One hood 
represents “The Annunciation”; a scene of three arches sup- 
ported on slender columns, the Virgin kneeling at a prayer table, 
the Angel holding a staff and scroll. Over the latter’s head ap- 
pears a circle, which probably once contained a dove. ‘The 
other hood displays the Virgin seated between Christ and God 
the Father, while a dove hovers over the crown which they poise 
over her head. Christ is represented holding His Cross, while an 
orb rests on the Father’s knee. Behind the figures hangs a dos- 
sal, which is surrounded by twelve winged angel-heads, floating 
in golden clouds. Five panels of an orphrey, connected hori- 
zontally. The first contains a picture of “The Visitation.” 
Elizabeth receiving Mary in front of a fagade, in the openings 
of which appear three other figures. The second illustrates **The 
Annunciation.” The Virgin kneels beneath a green and gold 
canopy, sown with fleur de lis, the dove appearing in glory, with 
silver rays descending from it, the angel bearing a scroll inscribed 
“AB(V)E GRACIA PLETA”—“‘Hail, full of Grace.” ‘The 
third represents “The Immaculate Conception.” A dove, similar 
to the one on the hood, hovers above the head of the Virgin, who 
with fingers joined at the tips stands above the winged head of a 
cherub. She is buoyed up by four full length figures of child- 
angels, two at her feet, two beside her shoulders. The fourth 


SHTaadloOwa Wy GONVSSIVNAY NVIIVLT AUVNIGUOVULX YY “CGP ‘ON 


may represent Zacharias and Elizabeth, for a woman dressed 
like the figure in “The Visitation” is supported on the breast of 
an old man. To the right appears a boy, possibly John the Bap- 
tist, carrying a lamb on his shoulders. The fifth pictures “The 
Presentation.” The High Priest holds the Infant, toward whom the 
Virgin bows reverently. Joseph stands behind her. <A basket con- 
taining a dove rests on the ground. A set of three orphreys ar- 
ranged vertically. The first represents Thomas, the Doubter, kneel- 
ing before the risen body of Christ, invited to place his finger in 
the sacred wounds. The second shows “The Ascension,” Christ’s 
figure rising above a line of hills, while eleven disciples and two 
Marys kneel in the foreground. The third commemorates the 
“Day of Pentecost,” the Virgin being enthroned in the center, 
the twelve disciples kneeling in a semi-circle, and cloven tongues 
descending from the dove that hovers above. A set of three 
orphreys, arranged vertically. The first exhibits the scene of 
“The Resurrection”—four soldiers asleep round the tomb, on 
which stands Christ, nude to the waist, with a dull claret-colored 
drapery floating behind him. The second commemorates the ap- 
pearance of the Risen Christ to the Magdalene. She is kneeling 
beneath a grayish yellow canopy as Christ, represented in front: 
of an arch, extends His hand to her. The third recalls the “Visit 
to Emmaus.” Christ carrying a shepherd’s crook, has joined 
himself to the two disciples in their walk, while in the rear is a 
house, through the upper window of which the three appear at 


supper. 


456—A REMARKABLE SET OF ECCLESIASTICAL EM- 
BROIDERIES OF THE ITALIAN RENAISSANCE, 
CONSISTING OF ALTAR FRONTAL, CHASUBLE, 
TWO DALMATICS AND TWO PANELS 


The dalmatics have been taken apart and are shown as front and 
back and two sleeves, so that the whole set consists of twelve 
pieces. They are of crimson velvet, for use on festivals of mar- 
tyrs, embroidered with gold and silver ornament and embellished 
with handsome picture-subjects. The latter are of unusually 
elaborate design, introducing many figures, excellently composed, 
and wrought in brilliant silks, with needle-point on the faces and 
hands, and details of architecture, executed for the most part in 


gold and silver. Gold, however, forms the foundation of the 
whole design, which in consequence is invested with a rich, shim- 
mering glow. The ground of the frontal is embroidered with a 
diaper of curving lines which enclose conventionalized fleur de 
lis, while a broad band extends up each side and across the top. 
This has a foundation of gold thread appliqué, on which are em- 
broidered alternate panels of foliated scroll-work and drapery fes- 
toons and needle pictures. The latter, at the top, comprise a 
central panel of the Virgin and Child, enthroned beneath a green 
and yellow canopy, supported on each side by a representation 
of a bishop kneeling in devotion. ‘The side pictures commemo- 
rate the two St. Johns—the Evangelist on the right, with book 
and eagle, and on the left the Baptist, pointing to a lamb that 
lies a his feet. The chasuble is embellished with a border of gold 
and silver embroidery, surrounding a vertical panel, composed 
of sections of scroll work, alternating with needle pictures. The 
latter, on the front, represent ‘*The Circumcision” and “The An- 
nunciation.” In the former the High Priest is seen before a table 
on which the child is being held by an attendant, while the Vir- 
gin kneels and Joseph stands behind her. The other subject 1s 
treated in the usual way. The back of the chasuble shows three 
scenes. “The Baptism of Christ” is represented in the first—his 
figure standing in the water, St. John and an angel appearing 
on the bank, while the dove hovers above and the Holy Father is 
seen in the clouds. Next comes “The Presentation in the Tem- 
ple’—the High Priest attended by another priest, holding the 
Babe, Mary and Joseph standing to the left, an osier cage of 
doves lying on the floor. Thirdly is represented **The Flight into 
Egypt,” the group being shown beside a date palm. The dal- 
matics are embellished with particularly brilliant specimens of 
needle pictures, the subjects of which are “The Adoration of the 
Shepherds,” ‘‘Visit of the Magi,” ‘The Resurrection,” and “The 
Ascension.” ‘The four arm-pieces depict respectively, a composi- 
tion of nine figures, in which Christ is washing a disciple’s feet; 
Christ’s agony in the Garden of Gethsemane, an angel hovering 
in front of Him with the Cup of Anguish, and Peter and James 
and John asleep; the visit of the three Marys to the sepulchre, 
on which sits an angel, and Christ joining Himself to the two 
disciples on their way to Emmaus. The two separate panel- 
pieces exhibit, respectively, Christ in His transfiguration, Moses 
and Elias floating at His side, Peter, James and John watching 


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in amazement, and Christ walking on the Lake of Gennesaret, 
while Peter, who has left the fishing boat and essayed to reach 
Him, is beginning to sink. 


IMPORTANT TAPESTRIES 


457—A Series oF Picrures in NEEDLEWORK 


This strip commences with boldly designed figures, in which 
strong red and blue mingle with the verdure tones of the land- 
scape. To this part has been attached a strip, executed in 
smaller and tighter stitches, and in more delicate colors. Com- 
mencing on the left, appear two mounted soldiers. ‘They are 
preceded by a page carrying the lance of a warrior, in Roman 
armor, who advances on foot to greet a lady. She comes for- 
ward with hand extended to welcome him home. Then follows 
the other part, in which appear to be depicted the legendary 
incidents in the life of some lady. The first scene shows two 
angels flying, as they support a child, while a woman and child 
watch from the window of a house. Then a lady, in blue over- 
dress and rose skirt, is seen, standing back to us, gazing up at 
a vision in the sky of an old man seated amid three kneeling 
figures. The lady holds by the hand a child. Here occurs a 
break in the sequence of the design. It is followed by a scene of 
the lady kneeling before a crucifix, while a dove in glory hovers 
over her head, and a rudely dressed man hurries toward her. 
Finally the lady appears in glory, seated on a rainbow that 
spans a city. A peacock and a fox appear below. 


Height, 1 foot 4 inches; length, 7 feet 10 inches. 


458—A Series oF Pictures In NEEDLEWORK- 


The narrow border is olive-brown, and tones of brown are freely 
used in the pictures, interspersed with strong blue-greens, blue, 
orange-red and greenish-yellow, the flesh parts being drab. ‘The 
strip is not continuous, fragments having been lost, and the 
restoration sometimes interfering with the correctness of the 
design. The subjects, commencing from the left, comprise the 
following: 1, The visit of the shepherds to the stable at Beth- 
lehem. 2, Christ after His resurrection appearing to Mary 


459—— 


460— 


Magdalene. In this and the next two subjects she is pictured 
in the brown habit of a Carmelite nun. 38, Christ raising the 
Magdalene, who holds a flaming heart. 4, The Magdalene sup- 
ported by the two other Marys in the Carmelite garb, before a 
crucifix, from the wounds in the hands and heart of which rods 
descend to the hands and heart of the penitent. 5, A troop of 
mounted men, one carrying a banner and one blowing a tuba. 
6, An angel with a scroll, “Gloria in Excelsis,” appearing to the 
shepherds. 7, The three magi. The Ethiopian has alighted 
from his camel, and is pointing to a star that rests above an inn, 
from which a signboard extends. 


Height 1 foot 3 inches; length, 11 -feet 10 inches. 


FRAGMENT OF FLEMIsSH TAPESTRY 


Sixteenth Century. Apparently a section of a border, the panel 
exhibits a female figure, clad in a blue robe with yellow and 
cream high-lights, which leaves the left breast exposed. She 
stands within a trellis, on which are perched two baby forms, one 
on each side of her bosom. She is crowned with a tiara, and 
her left leg, seen through the drapery of her dress to the thigh, 
is bound with a cothurnus. To the left of her feet stands a 
bird. Below her is a profusion of fruit and flowers, surround- 
ing at the base a vase. The whole is on a cream ground, and 
involves tones of grayish-green and blue-green, with tints of red 
and orange and dull snuff-color. The narrow border on each 
side contains a repeat of a half-rosette, cream color on a ground 
of snuff, shaded with orange-brown. 


Height, 5 feet 6 inches; width, 1 foot 7 inches. 


-Frencu Tapestry. THE CRrvuCIFIXION. 


Eighteenth Century. This tapestry bears the signature of Sé- 
bastien Le Clerc, French historical painter, who was born in 
1676 and died in Paris in 1763. It represents the Crucifixion, 
the body of Christ being shown three-quarters full, facing to the 
left. It is executed in tones of drab, slightly shaded with red- 
dish brown, and a drapery of cream and drab and brown en- 
circles the waist and floats free of the figure on the right. The 
head, surrounded by pointed rays of glory, is bowed toward the 
right and lifted with a heavenward gaze. The Cross, fastened 


AULSALV T OIH.LOL)-NVWUaL) Fav YY “LOF “ON 


461— 


into the ground with a wedge, is of dark brown timber, and 
bears at the top a scroll, on which all that remains of the in- 
scription “Inri” (Jesus of Nazareth, King of the Jews) is the 
letter “R.” A burst of creamy light appears in the upper left 
of the sky, where the sun is shown, partly hidden by bars of 
dark olive-green cloud. The darkness is continued down through 
the centre of the sky, until it terminates in a band of light over 
the horizon, against which are seen the dome, spire and roofs of 
Jerusalem. The foreground represents broken, sandy ground 
that dips into a hollow, and is bordered toward the middle dis- 
tance by a belt of shadowed green. Here on the left rise preci- 
pitous hills of dull olive-green and brown, near the foot of which 
appear three trees, probably suggesting the Garden of Geth- 
semane. Signed on the wedge: “Lr CuieErc.” 


Height, 3 feet 71% inches; width, 2 feet 71/4, inches. 


RARE GERMAN TAPESTRY 


Early Gothic Renaissance. A King on His Throne. Can this 
be intended to represent the abdication of Charles V. in 1556, 
when he handed over the imperial crown to his brother Ferdi- 
nand? The king is seated on a throne, clad in a loose blue robe, 
with a jewelled chain hanging round his neck. While he raises 
one hand, he extends the other to a man who stands before him 
with arm extended in salute. But for the helmet, which rests 
upon the ground, his figure is clad cap-a-pie in Greco-Roman 
armor—shoulder pieces, cuirass, short bluish-green undershirt 
and greaves, the metal being decorated with rudely hammered 
arabesques. He wears a sword at his left thigh, and carries in 
his right hand a martel-de-fer, or horseman’s hammer. Behind 
him stands a man-at-arms, dressed in crimson hose slashed on 
the thighs, a blue shirt and a double necklace of red beads, and 
a blue full-sleeved short doublet. At his back appear the head 
and chest of a man dressed in brown. Two other figures com- 
plete the group. Upon the balustrade of the throne, over which 
a crimson drapery hangs, leans a man in a flat, flapping cap and 
high ruff, such as may be seen in Holbein’s portraits, while seated 
beside the king is a bald-headed man, clad apparently in eccle- 
siastical vestments, carrying upon his shoulder a jewelled sword. 
The canopy of the throne, composed of a Persian carpet, is sus- 
pended from two columns—a short one that surmounts the balus- 


trade and a taller one that rises directly from the pavement. 
They are of porphyry, with rudely carved capitals and shafts 
that swell out into a bulb-shape, where they join the bases. 
Byzantine influence is shown in their design, as also in the inter- 
laced border of the king’s robe, while the classic influence of 
the Renaissance appears in the armor. The figures, however, in 
their character and naturalness are thoroughly German. The 
border is broad and exceptionally fine, having a ground of bluish 
black, on which, in hues of green and blue and rose, is an elab- 
orate pattern of leaves, tendrils and bunches of grapes, inter- 
spersed with floral arrangements of roses and pansies and daisies. 
It is interrupted at the bottom by a panel, flanked at each end 
by a circular medallion, decorated with a bird on a bough. 
Among the grapes in the top border occurs what seems to be a 
coiled snake. , 

Height, 5 feet 2 inches; width, 6 feet 1 inch. 
From the James A. Garland Collection, New York, 1909. 


462—F ine Fuiemisnu Tapestry 

_ Early Sixteenth Century. In the upper right corner appears a 
cartouche, with an inscription in Flemish Gothic lettering of the 
rn Sixteenth Century. It presents an indifferent couplet of hexa- 

meter and pentameter verse: 

“Curat Josephus famis aditura pericla, 
Ut jam prelecta pellere messe queat.” 

(“Joseph makes provision against the approaching dangers of 
hunger, so that he is able to banish them by the harvest that he 
has already stored in advance.”) The subject, therefore, of this 
tapestry, which is a portion of a larger picture, may be a highly 
fanciful apotheosis of Joseph, or of some royal person of the 
Sixteenth Century under whom a corresponding prosperity had 
been enjoyed. For not only is the hero, as he sits on a throne 
to the right of the composition, represented with horns of power 
growing from his head, but also on the opposite side of the pic- 
ture appears a centaur playing upon a harp. His body is curiously 
encased in a corselet, as also is the hero’s, the latter’s being 
blue, richly embellished with rose and cream-colored vines and 
leaves and bunches of grapes. Similarly decorated are the 
greaves that show beneath a yellow drapery with blue shadows, 
which lies in heavy folds over his knees and hangs from his right 
shoulder. In each hand he holds a cornucopia that teems with 


CAAA LES TT 


Friemisyu TArpestry 


TEENTH CENTURY 


xX 


MIU AR ET 


No. 463 


grapes. A girl is offering him a handsome vase with a high 
hd. The throne is embellished with a richly wrought Renais- 
sance column. ‘To the left of it a man is kneeling on one 
knee, facing the centaur, or possibly the altar, which is beside the 
latter. This man is clad in a blue surcoat, edged with brown 
fur, over a tight-fitting doublet of grey-cream barred with rose 
stripes. He holds on his knee, which is encased in crimson hose, 
a book, while his other hand raises a vase over his head. Two 


ladies appear behind him. 
Height, 7 feet 3 inches; width, 8 feet 4 inches. 


463—Finzr Fuemisuo RENAISSANCE TAPESTRY 


Early Sixteenth Century. Two men are seated on the left of 
the foreground. One is an old, long-bearded counsellor, clad 
in a voluminous buff and fawn-colored mantle; the other a gen- 
eral, with chestnut moustache and beard. He wears a helmet 
decorated with blue and rose and cream plumes, and a blue cloak 
brocaded with yellow, fastened by a brooch on his right shoulder. 
The latter is adorned with a gilded panther head, fitting over an 
underskirt, the skirt of which consists of gold and rose tabs. 
Similar colors appear in his greaves. He extends his left arm 
and points at another warrior, who stands facing him. This 
man’s corselet is also embellished with a panther head on the 
shoulder, from which depends a cream and fawn-colored cloak. 
He is holding up one finger of his right hand, and the crowd ~ 
of men who stand behind him are likewise raising one finger, or 
in some cases two. The background presents a landscape execu- 
ted in tones of cream and bluish green, where a dovecot, church and 
house show among trees, while the distance is occupied by hills, 
with concentric curves of trees lining their base. The panel is 
edged at the sides with a narrow band of conventional repeat, 
but has broad borders at the top and bottom. These involve 
similar designs, a vase, piled with fruit, surmounting a valance 
that is suspended by two children. This occurs four times, as 
pendants to the two central designs. The latter are different. 
The upper one shows two women seated in front of a building, 
round the edge of which peers an ass. One woman has her 
elbow on a table strewn with objects like apples, while the other 
faces her, holding a short brown staff. The lower central figure 


displays a young man reclining on a litter, carried by two ser- 
vants, and followed by a man and woman bearing crowns on their 
heads. 
Height, 11 feet 3 inches; width, 6 feet. 
Vitall Benguiat Peery ie oo: 
Eesptedk 
Lrvortanr Beteaem Tapestry 


/ , Seventeenth—Gentuzy. The subject of this tapestry ap- 


“pears to be a “Court of Love,” one of those scenes 


of diversion in Platonic love that amused the leisured 
fancy of the Renaissance. It is a spot in the country 
with a distant view of a farm, enclosed by a fence. On the left of 
the foreground a young girl is enthroned. Behind her hangs a 
dossal of snuff-color, decorated with blue and cream conventional 
rosettes, and bordered at the side with pale blue, on which is a 
running design. The girl is clad in a voluminous robe of pale 
blue, her head bearing a jewelled circlet and bound in a veil, the 
ends of which are wrapped round the neck. Around the latter 
hangs a chain of large links, which, with certain variations of 
design, is a distinguishing accessory to most of the figures in the 
group. She is attended on the right by two ladies, one in a 
dress of rose-color, the other clad in a long yellow-green gown 
with pale rose and cream sleeves. In front of the “Queen of 
Love,” to her left, kneels a youth in attitude of worship. A 
pretty young girl kneels beside him, and at the back of the pair 
is a group of two gentlemen and two ladies. In the immediate 
front, on their left side, a bearded man, in turban and pale blue 
cloak, stoops to take the hand of a girl seated on the ground. 
On the right of the foreground a gentleman in pale yellow-green 
mantle kneels at the feet of a standing lady dressed in a hand- 
some greenish-yellow robe, with a front panel of crimson and 
gold embroidery and a long, sleeveless coat of dark green, bro- 
caded in yellow. Behind these two appear other couples in pos- 
tures of love-making, and a few ladies and gentlemen apparently 
unattached. The ground is tufted with flowering plants of 
Gothic character. The ground of the border is dark green, 
on which appears a flowing design of daisies, crimson roses, 
pale violet grapes and leaves. It is edged with bands of pale 
olive and buff. 

Height, 8 feet 8 inches; width, 12 feet 6 inches. 


Vitall Benguiat Collection, 1905. 


ERENT 


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EVENTEENTH CENTURY FLEMISH TAPESTRY 


S 


465 


O. 


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465—Hanpsome Friemisu Tapestry 


; ~ 


Seventeenth Century. A cartouche, placed in the centre of the 
top border, and cutting into the panel, carries the words, ‘*His- 
toria Titi et Vespasiani.” The subject, therefore, illustrates an 
episode in the career of the Emperor Vespasian and his son Titus, 
who was left by his father to prosecute the war against the 
Jews. As a matter of fact, it appears to be an exploit of Titus’ 
that is represented, for the chief figure is that of a young man, 
and ‘Titus was twenty-nine when he took Jerusalem. He occu- 
pies nearly the centre of the composition, mounted on a rearing 
war-horse. A crimson drapery floats from the young man’s 
shoulders. He wears a silver helmet with gold visor and re- 
cumbent panther on the crest, from which spring two white 
ostrich feathers. He has pulled his horse’s head round to leave 
free play for the spear in his right hand. It is directed against 
a soldier armed with short sword and round shield, who, with 
one foot planted on the stern of a fallen horse, is warily await- 
ing the attack. A dark green and pale yellow drapery across 
his knees shows beside the crimson saddle-cloth of the dead horse. 
Meanwhile the young hero is being threatened by another sol- 
dier, who, with sword uplifted, is urging his horse forward to 
the attack. He has a voluminous blue and white drapery that 
gleams against an olive-green and buff flag. On the brownish 
drab foreground, which is noticeably free from details, is the 
body of a young man, lying under the belly of the hero’s horse, 
doubled up, head bowed, elbow on his shield, his sword and hel- 
met fallen. A panther head makes a prominent spot on his 
shoulder. In the middle distance to the right are scenes of 
fighting; farther back two parties of soldiers meeting on a sort 
of bridge, and behind this the walls and towers of a city, manned 
with troops. The lower sky is occupied with gray and cream 
clouds, rolling under the remains of a faint blue at the zenith. 
The border shows a ground that shades from a warm chocolate 
to pale yellow, on which appears a repeat of acanthus scrolls, 
mostly blue and cream, interspersed with crimson, white and 
pale yellow tulips, roses and dianthus. In the centre of the 
right side is a peacock, balanced on the left by a golden pheasant. 


Height, 12 feet 6 inches; width, 12 feet 10 inches. 


Vitall Benguiat Collection, 1905. 


466—FLemisH RENAISSANCE T‘'APESTRY 


Early Sixteenth Century. The centre of the panel is 
occupied by a warrior in blue scale-corselet, who seems 
to be pleading on behalf of three prisoners, one with 
his hands bound in front, who stand in a row with a 
spearman at each end. His arguments are addressed to the 
general, who stands at the left, slightly leaning on a spear, his 
right hand planted on his hip. His body is encased in a dull 
gold corselet with tabs, over a blue undergarment, while a 
drapery of cream and drab, striped with blue, hangs from his 
shoulders. Behind him sits a woman with her arm round a 
standing child, a blue water jar, decorated with an interlace of 
cords, lying on the ground beside her. A little distance off, in 
the rear, appears a bodyguard of spearmen, waiting by the gen- 
eral’s horse. The foreground is sprinkled with flowering plants 
of Gothic design. The background shows a sloping landscape, 
‘interspersed with shrubbery, executed in cream and tones of 
bluish-green, and having a central mass of trees. On the right 
of this is a vista of tents, with groups of soldiers scattered 
among them, while on the left are two men, apparently civilians, 
in animated conversation, soldiers appearing near them. In both 
the lower corners of the border sits a red-haired and bearded 
man, playing on a lyre, at whose feet are a stag, a monkey and 
a wolf. In the centre of each side is a canopy. supported on 
four columns. It frames a landscape scene, in which a girl is 
skipping forward with flowers in her hand. Above this, on each 
side, appears a trellis, which supports three children and trophies 
of leaves and apples and. pears. The top and bottom borders 
involve a profusion of foliage and fruit and a repeat of looped 
drapery, which is held up by children in pairs, carrying cornu- 
copias. The central feature in each case represents a hemi- 
cycle pergola, within which is a female figure playing on a lyre 
in front of a woman, who sits beside a stand that contains tulips 


and lilies. 
Height, 11 feet 7 inches; width, 17 feet 3 inches. 


~- 


No. 466. 


Important [FLEMISH RENAISSANCE TAPESTRY 


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Sete, 
aoe co 


ORIENTAL RUGS 


467—S1ik Prayer Rue 


Green centre panel of mosque window design. Framed in a 
series of borders of conventional patterns, on a pink and white 


ground. | | 
Length, 5 feet; width, 3 feet 6 inches. 


468—AnTIQquE GuiorDES Prayer Rue 


Old red centre panel of mosque window design. Conventional 
flowers on dark blue corners, and a wide and several narrow bor- 
ders of harmonious patterns in low tones. 


Length, 5 feet 3 inches; width, 4 feet 3 inches. 


469—F ine Oxup Sirx Rue 


Very closely woven pashmi pile. ‘Wine-red field, with large cen- 


tral medallion and blue corner ornaments, covered with conven- 
tional designs in low tones. Framed with a border of dark 
blue, with the sacred lotus and scrolls in wine-red and other 
colors, and two narrow borders to harmonize. Deep fringe at 


ends. 
Length 6 feet 7 inches; width, 4 feet 9 inches. 


470—Oxp Dacuestan Rue : 
closely woven silky pile. Old-red field, covered with conven- 
tional floral sprays in ivory-white, pink and blue. Corners of 
ivory-white, with tree of life and conventional flowers, and a 
series of borders to harmonize. 


Length 7 feet 6 inches; width, 4 feet 5 inches. 


471—Very Rare AnTIQUE KuHorassan Rue 
Red field, with archaic scrolls and flowers in turquoise-blue, yel- 
low, green, black and ivory-white, surrounded by a wide border 
of dark blue, with a conventional lotus in colors, and two narrow 
borders of ivory-white and turquoise-blue to harmonize. 


Length, 9 feet 6 inches; width, 4 feet 8 inches. 


» 
5 


44%2—AntiqauE Dacuestan Lone Rue 


Dark-blue centre. Covered with medallions and conventional 
designs, woven in brilliant colors. Wide border of yellow, and 
two narrow borders of ivory-white. Covered with archaic de- 
signs. 

Length, 9 feet 7 inches; width, 3 feet, 11 inches. 


473—AnTIquE Dacuestan Lone Rue 


Blue centre panel, covered with conventional floral designs woven 
in various colors. Surrounded by a series of narrow borders and 
a wide border of ivory-white, with lotus and other flowers woven 


in brilliant colors. 
Length, 11 feet 6 inches; width, 4 feet 1 inch. 


4°74—AnTIQuE Freracuan Rue 
Closely woven silky pile. Dark-blue field, covered with an elab- 
orate scroll and floral pattern, birds and symbols woven in har- 
monious tones of red, yellow, pink and ivory-white. Borders of 


harmonious design. 
Length, 13 feet; width, 6 feet 6 inches. 


475—Larcre ANTIQUE KHoRASsAN RuG 
Closely woven silky pile. Centre panel of dark-blue, covered with 
conventional tree of life and floral medallions, woven in beauti- 
ful combined colors. Framed in a wide border of rose-pink, and 
a series of narrow borders. 


Length, 10 feet; width, 8 feet. 


ANTIQUE FURNITURE AND OTHER OBJECTS 


. 476—Pair Vases witH Covers 7 
Sévres style. Bleu du roi glaze, with gilding, and finely painted 
medallions of pastoral subjects and trophies. Gilt ormolu 


mountings. 
Height, 191% inches. 


a, 


4°777—Larcr VAsE witH CoveER 


Old Sevres style. Rich blew du rot glaze, with coat-of-arms and 
border design in gold matte. Handles of serpent design, and 


mountings of chiselled ormolu. 
Height, 31 inches. 


478—Patr Otp EnciisH CoacH-HORNS 


Silver-plated. Mounted as flower vases. Marked with engraved 


coat-of-arms. 
Height 441, inches. 


479—O.p SpanisH Sitver Cuurcu Lamp 
Repoussé ornamentation. Arranged for electricity. 


480—Patr Sitver CHurcH Lamps 


Italian; Eighteenth Century. Repoussé ornamentation. En- 
graved name of donor. With chains and canopies for hanging, 
and original tassel pendant. 


481—AntTiaquE REpoussE SILVER CHANCEL LAMP 


Spanish; Sixteenth Century. Figures of cherubs in relief. 
Chain and canopy. 


482—Pair Ormotvu AND Bronze ANDIRONS 


Louis XV. design. Bold scrolls in gilt ormolu, and bronze figures 
Painter and Sculptor. 


483—Parr Louis XVI. Anprirons 


Gilt ormolu and bronze. Design of urn and flame; garlands of 
fruits and flowers, surmounting an oblong base of elaborate de- 
sign. 


484—Pair Carvep Woop anp Girt Watt Licuts 
Openwork scroll and vase design, and four candle branches. 
Height, 3 feet 2 inches. 


485—LARGE RELIQUARY ; | 
Old Italian. Carved and gilded wood in design of an ornate 


cross, surmounted by a crown and smaller cross. 


Height, 52 inches; width, 31 inches. 


486—Patr ALTAR CANDLESTICKS 


Old Spanish. Bold, leafy scroll design in carved wood; silver 
finish. 
; Height, 37 inches; width, 33 inches. 


487—Pair Ovtp SpanisH Watt Brackets 


Carved wood, with bold leaf designs in relief. Polychrome deco- 
ration. 
Each: Height, 11 inches; length, 23 inches. 


488—Two Oxp Iratian Cotumns 
Finely carved wood. Fluted design, with Corinthian capitals. 
Height, 37 inches. 


489—Oup ITALIAN FRAME 


Carved wood, of leafy scroll designs, surmounted by a cherubim. 
Polychrome decoration. 
Height, 19 inches; length, 33 inches. 


490—Pair Carvepn Woop CoLtumns 


Old Italian. Fluted design, with carved bases and Corinthian 
capital. Polychrome decoration. Each arranged for electric 
light. | 

Height, 4 feet 3 inches. 


491—CuasuBLE STAND 


Carved and gilded wood. ‘Terminal ornament in design of an 
écusson. 
Height, 4 feet 4 inches. 


ec 


ity gy 


il Lary 492—Oup JAPANESE CABINET 


Lacquered and gilded. Finely carved panels of floral design, 


ci A executed in openwork, and polychrome decoration. Lined with 
BN old brocade. 
Height, 41 inches; width, 25 inches. 
493—Bracker Crock 
: Louis XV. design. Buhl case, with elaborate brass ornaments 
ag _ and mountings. - Movement by Breitschmid, Lucerne. 
) Height, 42 inches; width, 20 inches. 
494—ELABoraTE ALTAR PIECE 
’ Spanish; Sixteenth Century. Carved and gilded wood. Cherubs 
i eg supporting Mary in the clouds; Saints on either side, and 
) cherubs and gold scrolls beneath. 
Height, 4 feet 5 inches; width, 4 feet. 
Stanford White Collection. 
/ © 495—Iratian Renaissance Fonr 
LEN Carved stone. Decoration of mythological subject, executed 
N . . . = 
\) in high-relief. 


Height, 1 foot; diameter, 2 feet. 


496—CHIPPENDALE POLE-SCREEN 
ae ) - Mahogany, inlaid with satinwood lines. - Shield-shape panel, 


Y filled in with pleated silk. | 
Height, 4 feet. 


_49'7—Apams MiniatTurRE CaBINET 


rn WN Satinwood; with painted garlands of ele and panels, en- 


\ i camieun. > 
Height, 33 inches; width, 20 inches. 


498—Apams Carp TABLE 


\ as Folding top. Satinwood, with marquetry panels and parquetry 
| border. 


Height, 2 feet 9 inches; width, 2 feet 9 inches. 


499—Apams CENTRE TABLE 


Satinwood; with finely painted decoration by Pergolesi, consist- 
ing of medallions of cherubs and types of English children, and 
borders of leafy and floral scrolls. 


Height, 2 feet 4 inches; diameter, 3 feet. 


500—Fine Op CuHIpPpENDALE Writinc DEsk 
Satinwood; with inlaid lines and ebonized moulding. Guilt brass 


handles. 
Height, 3 feet 2 inches; length, 3 feet 11 inches. 


501—F irre ScREEN 
Carved and gilded wood frame, of Louis XV. design. Panel of 
fine old Beauvais tapestry, with hanging flower basket, and gar- 
lands of roses woven in fine colors on an ivory-white ground, and 
surrounded by a turquoise-blue border. 


Height, 3 feet 9 inches; width, 2 feet 2 inches. 


502—Smatu Op Iratian COFFER 
Renaissance period. Walnut, with carved panels of cupids and 
corner ornaments, executed in high-relief. Surmounted by a re- 


clining female figure. 
Height, 2 feet; length, 2 feet 11 inches. 


503—Oxtp CHIPPENDALE ARM-CHAIR 


Mahogany; with finely carved openwork back. Seat upholstered 
in red plush. 


Pret 


504 


504—RareE Iratian RENAISSANCE ARM-CHAIR 


Elaborately carved and decorated in polychrome. Seat uphol- 
stered in red plush, and the back panel covered with old Italian 
needlework. 


From Messrs. Duveen Bros. 


BOTAN AOL) Lat 


505 


505—IraLian RENAISSANCE SETTEE 


Carved walnut; arms of scroll design, terminating in figures of 
satyrs; carved paw feet. Seat and back upholstered in old-red 
Genoese velvet, the latter embellished with five beautiful panels 
of old Italian needle painting, in silks and gold bullion thread, 
depicting figures of Christ and Saints in architectural niches. 


Trimmed with deep tasseled fringe. 
Length, 4 feet 5 inches. 


506 


506—BeavutTirut Smautut SETTER 


Italian Renaissance. Artistically carved walnut frame, orna- 
mented with caryatids, scrolls and other designs. Seat and 
back upholstered in old-red Genoese velvet, and embellished with 
old Italian embroidery and appliqué. 

; Length, 4 feet 5 inches. 


507—Two Irauian ReEnais- 
SANCE ARM-CHAIRS 

Os »°To match the preceding 
“settee. The seats uphol- 
stered in red Genoese vel- 
vet, and the backs cov- 
ered with beautifully em- 
broidered Castilian coat- 
of-arms. 


508—Antiave Iratian ARM- 
CHAIR 

_ | . Renaissance period. Elab- 
/ ~“‘orately carved and gilded 

walnut; openwork panel 
in back; arms terminating 
in animals’ heads. Seats 
upholstered in old-red 
damask and gold thread 


needlework. 


509—Oxtp Carvep WatLnut 
BANQUETTE 

Italian; Seventeenth Cen- 
| tury. Evidently made 
. ‘AO > from a cradle. Carved in 
oy high relief, in Louis XV. 
design, and upholstered in 
old Genoese cut velvet. 


507 


510—Oup Dutcu SLEIGH 


Carved and decorated in colors. Finely painted panels of rich- 
plumaged peacocks and other birds. Upholstered in embossed 
velvet. 


511—Larcr, ComrorTaABLE ARM-CHAIRS WITH WINGS 


Old English. Carved walnut legs and underbrace. Uphol- 
stered all over with old Flemish verdure tapestry. 


No. 515. BEAUTIFUL 


CHIPPENDALE CABINET 


OM ca? ge ee 


hin 


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; 
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wane, 


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oN 


§612—Pair Tapestry CusHions 


Flemish; Sixteenth Century. Bold floral designs in low tones; 
backed with red silk. 


ols 


513—BeavutTiruL OLp CHIPPENDALE SOFA 


ry . | Carved mahogany. ‘Three chair backs, scroll arms and four paw 


feet in front. Relief ornamentation of shell and leaf patterns, 
The seats covered with old-red silk damask. 
Length, 6 feet 3 inches. 


514BravuTirut Oup CHIPPENDALE CABINET 


Lip Mahogany. Carved in French Louis XV. Glass in doors and 


backed with purple cut velvet. An exceedingly fine specimen, 
and in splendid condition. 


Height, 6 feet 3 inches; width, 3 feet 4 inches; depth, 1 foot 6 inches. 


515—ELecant CHIPPENDALE CABINET witH WINGS 


Mahogany. Artistically carved. Glass in doors and sides and 
shelves, and back covered with red silk damask. 


Height, 7 feet 8 inches; width, 4 feet; depth, 1 foot 9 inches. 
From Tiffany Studio. 


516—Goruic THRONE CHAIR 
Carved wood, with 
polychrome decoration. 
Figure of Crusader in 
relief in back panel. 


From H. O. Watson. 


5IT—E LABORATE SANC- 
TUARY SHRINE 
Italian Renaissance. 
Carved and gilded 
wood. Upper panel or- 
namented with cherubs, 
sun-burst, clouds, and 
dove of peace modelled 
in high-relief. Enclo- 
sure in base decorated 
with painted figures of 
Saints; on the sides 
coat-of-arms of the 
donor, in relief carving. 
Height, 8 feet; width, 2 
feet 2 inches; depth, 1 
foot 7 inches. 


From H. O. Watson. 


518—Very Onp Roman- 
GOTHIC CABINET 
Desk 


Elaborately carved 
with conventional 
scrolls and other de- 
signs, with original 
hinges and locks. In- 
terior covered with 
purple velvet and 


edged with gold gal- 


loon. 
4 Height, 5 feet 5 inches; 
516 width, 3 feet 4 inches. 


From H. O. Watson. 


No. 518. Oup 


Roman-Gotuic CaBinet DEsk 


. Oup VENETIAN CABINET 


ANOSSV) NVIIVIT GIQ ALVUIOUVIV “G3G ‘ON 


519—Pair Larce OLp Cutnese Doors 
Panels elaborately and skillfully carved in high-relief, with bold 
dragons ascending from the sea amid cloud-forms and fire em- 


blems. 
Each: Height, 7 feet; width, 3 feet 2 inches. 


520—Carvep Woop anp Giupep Frencnu Lit 


Seat, head and footboard and rolls, covered with French silk 


brocade of floral and laurel vine design. 
Length, 6 feet 10 inches; width, 2 feet 8 inches. 


521—Oup Goruic-VENETIAN VESTMENT CABINET 

Elaborately carved and decorated in gold and colors. Midway 
on the pilasters are two figures of saints in bold relief, the four 
terminal ornaments consisting of pelicans and mythological 
beasts. On the sides, painted in colors, are figures of saints and 
foliated scrolls, and conforms with the original panel of door. 
This wardrobe was originally used for vestments. It is now ar- 
ranged as a cabinet, and a glass door replaces the original 
painted panel. 

Height, 7 feet 4 inches; width, 3 feet 4 inches. 


From Tiffany Studio. 


522—Outp VENETIAN CABINET 
Carved and gilded wood of elaborate temple design. Statuettes 
in niches. Has numerous drawers and enclosure. 


Height, 4 feet 6 inches; length, 6 feet 7 inches; depth, 1 foot 4 inches. 


523—ELABorATE Op [Taian Cassone 
Carved and gilded wood. Front panel finely painted with scene 
representing the “Crowning of the Arts, Sciences and Litera- 


ture.” 
Height, 4 feet 2 inches; length, 7 feet; depth, 2 feet 7 inches. 


524—Very Larce Outp DutcH “Kass” or CABINET 


Carved oak. Elaborately ornamented with carved and tinted 
panels representing scenes in the life of Christ. Borders of con- 
ventional pattern. Dated 1672. Has original old iron hinges 
and mounts. 


Height, 6 feet; width, 6 feet, depth, 1 foot 10 inches. 


Purchased by the owner in Holland many years ago. 


525—ELABORATE ANTIQUE FLEMISH CABINET 


Pilasters. caryatids and mouldings skillfully carved in high-re- 
lief. Dated-'642e—" Has original locks and hinges. 


Height, 8 feet 4 inches; width, 6 feet 11 inches. 


526—Very Larce anp FINE CHIPPENDALE BOOKCASE 


With wings, and base fitted as a clothes-press. Mahogany, 
with beautifully carved ornamentation; glass in doors. 


Height, 9 feet; length, 11 feet 2 inches; depth, 2 feet 4 inches. 


THE FOLLOWING-DESCRIBED ITEMS ARE TO BE SOLD 
FOR THE ACCOUNT OF THE ESTATE OF THE 
LATE STANFORD WHITE 


527—Pair Outp Brass CANDLESTICKS 


Italian. Arranged for electric light. 
Height, 26 inches. 


528—Fovur Oup ITauian ALTAR CANDLESTICKS 


Repoussé silver. Arranged for electric light. 
Height, 24 inches. 


529—Two Oup Spanisu CHancet Licuts 
Repoussé silver. With original tassel pendant. 


No. 524. Very Larcr 


> 


Quip: 


Durer 


66 


Kasse 


-ORABINET 


530—ANTIQUE ITALIAN CHANCEL LAMP 


Repoussé silver. 


531—Two AntTieaurt EccuesiAsTICAL PRocEssionAL LAMPS 


With staffs. 


532—Two AnTIQauE EccLESIASTICAL PROcESSIONAL LAMPS 


With staffs. 


533—ANTIQUE FRENCH ENTRANCE LANTERN 


Repoussé, and cast brass; flame terminal. 
Height, 29 inches. 


534—ANTIQUE ITALIAN CHANCEL LAMP 


Repoussé white metal, with chains and canopy. 
Height, 15 inches; diameter, 11 inches. 


535—Two ANTIQUE SPANISH CHANCEL LAmpPs 
Repoussé white metal. Cherub’s head in relief; chains and 


canopy. 
Height, 12 inches; diameter, 121% inches. 


5386—Two Antique Spanish CHANCEL Lamps 
Repoussé white metal, with gilt cherub’s head; chain and canopy. 


Has original tassel pendant. 
Height, 15 inches; diameter, 12 inches. 


587—Larce Spanish CHanceL Lamp 
Repoussé white metal. To match the preceding. 


Height, 15 inches; diameter, 12 inches. 


538—Larcer Sitver Cuurcu Lamp 
Spanish; Eighteenth Century. Repoussé ornamentation. Figures 
of angels in relief. Dated 1777. 


Height, 19 inches; diameter, 12 inches. 


539—LarcE ANTIQUE FRENCH CHANCEL LAMP 


Pewter, with elaborate gilt ornamentation of cupids, garlands and 
dolphins. 
Height, 19 inches; diameter, 14 inches. 


4 


540—Larcer CHurcH Lamp 
Italian; Sixteenth Century. Repoussé gilt ornamentation, with 


elaborate chain and canopy. 
Height, 18 inches; diameter, 16 inches. 


541—Very Larcr Cuurcu Lamp 
Old Spanish. Copper, with repoussé gilt festoons and other or- 
naments; elaborate chains and canopy. 


Height, 24 inches; diameter, 19 inches. 


542—ELABORATE CHANDELIER 


Old French. Repoussé gilded. Has eight candle-branches. 
Height, 44 inches. 


548—AntiavuE Travian LANTERN 
Repoussé gilt. Hexagonal-shape, with corrugated dome and 
flag terminal; ground glass panels. : 


Height, 50 inches; diameter, 13 inches. 


544—Parr Carved AND GiLtpED Woop Brackets 


Old Italian. Bold leaf design. 


Extension, 33 inches. 


545—Two AnTIQ@UE Brass CANDLE-BRACKETS 


Old Italian. Scroll design. 


Extension, 27 inches. 


546—ANTIQUE JTALIAN CANDLE-BRANCH 


Repoussé gilt, of leaf and scroll design. 


Extension, 39 inches. 


547—Two Lantern CANOPIES 
Old Italian. Hexagonal-shape. Repoussé gilt. 


Height, 13 inches; diameter, 16 inches. 


548—Larcr LANTERN CANOPY 


Old Italian. Hexagonal-shape. Repoussé gilt. 


Height, 17 inches; diameter, 23 inches. 


549—Patr Evaporate Wart Brackets 


Old Italian. Carved and gilded wood. Circular panels of leaf 
design, supporting scroll-shape brackets. Arranged for elec- 
tricity. 


Diameter, 201%, inches. 


550—Oxp Irarian PENDANT 
Carved and gilded wood, in design of a basket of fruit. 


Height, 20 inches; diameter, 18 inches. 


551—AntievE ITALIAN COLUMN 


Repoussé. Iron and gilded. Elaborate ornament of Renaissance 


design. 
Height, 6 feet 10 inches. 


552—Parr ALTAR CANDLESTICKS 


Old Italian; carved wood and gilded. 
Height, 31 inches. 


553—ANTIQUE FLORENTINE Mirrors 


Carved and gilded wood frame. 
Height, 341, inches; width, 33 inches. 


v 


554—Two AntTIQqUE FLORENTINE Mirrors 
Composition gilt. 
, Height, 341% inches; width, 33 inches. 


555—Patr Wari CANDLE-BRACKETS 
Old Italian. Repoussé, gilt metal. 
Height, 17 inches; length, 29 inches. 


556—ELABORATE ANTIQUE CROWN 


Wrought-iron, gilded. 
Height, 20 inches; diameter, 29 inches. 


557—E.aABorATE ALTAR CANDLE-BRANCH 


Old French. Repoussé and gilt. Iron, of foliated scroll design. 


Height, 35 inches; length, 6 feet 6 inches. 
558—ELABORATE ALTAR CANDLE-BRANCH 


Antique French. Grape-vine and leafy scroll design in repoussé, 
iron, gilded. 


Height, 5 feet 10 inches; width, 5 feet 3 inches. 
AMERICAN ART ASSOCIATION, | 


MANAGERS. 
THOMAS E. KIRBY, | 


AUCTIONEER. 


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